Biografii transideologice. Cazul sculptorului Ion Irimescu

Author(s): Dumitru Lăcătușu / Language(s): Romanian Issue: 3/2017

Starting from the case of Ion Irimescu, this article discusses the issue of continuity among Romanian visual artists before and after 1944. In this study, I argue that it was essential for the visual artists’ survival and establishment as artists during the communist regime to enter into a client-patron relationship. The existence of this relationship meant access for the artists to financial funds, promotion within the UAP, and protection from the measures, which the Securitate could have taken against them. This article is divided into four sections. Every section examines an episode from the life of Ion Irimescu. His interwar biography is presented in the first section, and his adaptation to the communist regime is the subject of the second part of this study. The last two parts analyse the factors which facilitated his confirmation and promotion as a state artist after 1944 and the relation of the artist with the Securitate.

БАРОКОВИЙ ЖИВОПИС ВЕЛИКОЇ ПЕЧЕРСЬКОЇ ЦЕРКВИ: НЕВІДОМІ КОМПОЗИЦІЇ ТА ПРОСТОРОВІ ПАУЗИ

Author(s): Maryna Afanasiyivna Bardik / Language(s): Ukrainian Issue: 2/2023

The purpose of the article is to present the visual sources of the original Baroque mural paintings of the Dormition Cathedral, as well as to discover the reason for the absence of murals in some compartments of the upper tier before 1843. The research methodology is based on historical, cultural analysis, and art study analysis. Scientific novelty. The author specifies which compartments of the upper tier in the Great Church (Dormition Cathedral) remained without paintings until the 1840s. The reason (the confidentiality of preservation of the Lavra treasury) for which these compartments were not painted in the late 1720s-1730, in 1772-1777 is established. The author reveals and attributes the compositions of the original Baroque decoration of the Church painted in the late 1720s-1730, and conducted the art historical analysis. Conclusions. According to archival documents, the upper side-altars of the Saint Apostle Andrew the First Called (altar part), of the Transfiguration of the Lord (altar part), of the Venerable Anthony of Pechersk and of the Venerable Theodosius of Pechersk were not painted in the 18th century. The absence of murals in these compartments was due to the will to have secret places to keep the Lavra treasures. Fragments of the compositions in the photos (1898; the collection at the National Preserve “Kyiv-Pechersk Lavra”) are murals of the Great Church of the late 1720s – 1730.

Samotność, smutek i ironia – o trzech wspólnych aspektach poezji Philipa Larkina i malarstwa Edwarda Hoppera

Author(s): Józefina Piątkowska-Brzezińska / Language(s): Polish Issue: 14/2023

Although Philip Larkin and Edward Hopper, an English poet and an American painter, worked in two different domains of art and different cultural contexts, their works evoke similar emotions and comments among the public. The recipients regularly mentionthree major themes of Larkin’s poems and Hopper’s paintings, which are loneliness, sadnessand irony. This article aims to discuss how the poet represented them in words and the painteron canvas. I will study the individual style of both artists in order to reveal how various aspects of their works correspond with each other, leading to similar artistic effects.

СТРУКТУРНО-СТИЛІСТИЧНІ КОМПОНЕНТИ КОМІКСУ В РЕАЛЬНОМУ ПРОСТОРІ ФОРМУВАННЯ ВИДОВИЩНОЇ КУЛЬТУРИ

Author(s): Serhii Krykunenko / Language(s): Ukrainian Issue: 3/2023

The purpose of the article is to identify and investigate the structural and stylistic components of the comics, its verbal and non-verbal components, as well as their use in the context of the formation of modern forms of stage and screen entertainment culture as a special visual phenomenon of today. The methodology is based on the use of dialectical, semiotic, analytical, and culturological methods for distinguish and systematise the structural-stylistic and compositional elements of the comics, which, thanks to their artistic features, are used in the formation of modern forms of stage and screen spectacular culture. The scientific novelty of the study lies in conducting the first cultural analysis of the synergy of comics and stage-screen forms of spectacular culture, as well as in the modern analysis and systematisation of the main compositional and structural-stylistic components of the comics; concepts such as "comic", "ideogram", and "creolised text" have been clarified and supplemented. Conclusions. The article reveals the peculiarities of modern varieties of the comics, as well as considers their influence on the formation of spectacular culture. The researched components of the comics, its verbal and non-verbal components, which are the basis of the general construction of the comics. The semiotic features of the use of ideograms, panels, phylacteries and creolised text in the composition of graphic stories are revealed, and the classification of the characteristics of pictorial lines is given. The use of structural and stylistic components of the comics as a special visual component in the real space of the formation of modern stage and screen forms of spectacular culture, namely in cinema, animated films, musicals, shows, and fashion shows, is considered.

МОДА ЯК КУЛЬТУРНА ПРАКТИКА: ІДЕНТИФІКАЦІЯ ЗА ОСНОВНИМИ ХАРАКТЕРИСТИКАМИ

Author(s): Viktoriia Cherevach / Language(s): Ukrainian Issue: 3/2023

The purpose of the article is to define and characterise the features of fashion as a cultural practice. Research methodology. Fashion as a polysemantic phenomenon requires an appropriate approach for its objectification in scientific research. The latter is not limited to one scientific field, but relies on an interdisciplinary methodology. Therefore, the research used an inclusive combination of a number of approaches integrated from cultural studies, sociology, psychology, and relevant methods. The scientific novelty consists in defining and substantiating the main characteristics of fashion as a cultural universal. Conclusions. The main characteristics of fashion as a cultural practice are: dynamism and variability (constantly changing and subject to various socio-cultural influences); historical basis and continuity (has a historical basis, serves as a form of expression of cultural identity and a way of establishing a connection with previous generations); socio-communicative nature (is a means of communication, expression of status and belonging to a certain group); dialectic and ambivalence (contradiction between the desire for originality and submission to other or previous fashion trends, individuality and conformity, innovation, and the desire to preserve the established order, universality, and support of the local cultural context, commercialisation and potential as a trigger of social change); cultural universality (contains cultural universals in the structure: convenience, usefulness, comfort, practicality, aesthetics, beauty). In general, fashion as a cultural practice is a dynamic phenomenon that reflects the diversity and complexity of contemporary culture. It is a means of expressing the way of life and meaning systems of culture, maintaining social ties and identity, forming sociocultural trends. The specified characteristics make it possible to state that fashion as an important cultural phenomenon, an integral component of the way of life is a cultural practice that, on the one hand, responds to all socio-cultural changes, and on the other hand, reflects the peculiarities of a certain historical era and is able to adequately represent them, acting as a kind of indicator and marker of transformations.

CONCEPTUALISATION OF THE MEANINGS OF FLOWER SYMBOLICS IN INTERIOR SCHEDULES

Author(s): Olena Stalyevna Afonina / Language(s): English Issue: 3/2023

The purpose of the study is to analyse the scientific literature to update the problems associated with the study of the symbolism of flowers and its interpretations. The methodology of the work is based on comparative historical and comparative typological methods, which make it possible to establish the complexity and ramifications of the problem of colour symbolism; The cognitive approach made it possible to identify the dependence of the use of interpretive capabilities of colour symbolism on the formation of the emotional component for the disclosure of contents and associations. The scientific novelty of the work lies in the addition of scientific literature with new studies of colour symbolism. Conclusions. Based on the study of scientific literature, it is possible to determine the relevance of problems associated with the symbolism of flowers and its specificity. Acquaintance with the works of scientists (P. Zholtovsky, A. Kondratyuk, A. Lopukhina, L. Milyaev, F. Umantsev) made it possible to determine the directions of research of the monument and the lack of works on the symbolism of flowers in the painting of the temple. The scientific works of V. Ovsiychuk and M. Pastoureau became the basis of the theory and history of the study of flowers. The timeliness of the research is confirmed by the developments of foreign institutions and scholars, in particular, the problem of: colour psychology (H. Brem); colour theory (M. Oswald, Weingarten University of Education, German Colour Centre, University of Halle-Wittenberg); global visual communication by colour (T. Fassati). During the heyday of Baroque art, the masters of the Lavra art school used the symbolism of flowers in a new way in the ensemble of paintings of the Trinity Gate Church. Mysticism prevails in the picturesque palette of the church.

ЕТАПИ КОЛЕКЦІОНУВАННЯ ЄВРОПЕЙСЬКОЇ ПОРТРЕТНОЇ МІНІАТЮРИ XVI–XIX СТОЛІТЬ

Author(s): Mariana Varchuk / Language(s): Ukrainian Issue: 3/2023

The purpose of the article is to ascertain the stages of collecting European portrait miniature of the 16th – 19th century from the outset of this art until now as an important factor for the research of the Bohdan and Varvara Khanenko National Museum of Arts miniatures, Kyiv. The research methodology is based on historiographical analysis coupled with axiological and holistic approaches to identify the relationship between the history of collecting and the evolution of the art of portrait miniature. The scientific novelty of the article lies in determining the general trends in collecting works to clarify the reasons for collecting European portrait miniatures in Ukraine, inter alia, at the Bohdan and Varvara Khanenko National Museum of Arts in Kyiv. Conclusions. Transformation of portrait miniature from an object of private property to a museum artefact began in the 17th century. Portrait miniature was recognised as a separate artistic genre. The processes of studying the term “miniature portrait”, researching of the art tradition, and creating the first museum’s collections were launched. It was at that time that the core of the miniatures collection was set up by its founders in the Bohdan and Varvara Khanenko National Museum of Arts. Now it is one of the greatest in Ukraine. Understanding of the artworks value have been proceeding during decline of demand for the traditional portrait miniature after invention of daguerreotype. Nowadays, the works are of interest to collectors, but the painting tradition continues only among amateurs.

ХУДОЖНІ ПРАКТИКИ ВАЛЕРІЯ ГЕГАМЯНА В КОНТЕКСТІ УКРАЇНСЬКО-ВІРМЕНСЬКИХ МІЖКУЛЬТУРНИХ ЗВ’ЯЗКІВ

Author(s): Oleksiy Zhadeyko / Language(s): Ukrainian Issue: 3/2023

The purpose of the work is to investigate the artistic and stylistic practices of V. Hegemyan, which he applied in the process of creative activity in the context of the history of art of Armenia and Ukraine. Emphasis is placed on clarifying biographical facts about the artist and teacher. The research methodology consists in the application of general scientific and special research methods, in particular, analysis, synthesis, induction and deduction, generalization and abstraction, semitic, descriptive, which collectively allowed to consider artistic practices in the work of the artist V. Hegamyan. The scientific novelty of the work lies in the fact that for the first time the facts of the artist's creative biography were introduced into scientific circulation, which made it possible to reveal the intercultural influences of the environment of Ukrainian and Armenian cultures on the formation of V. Hegamyan's creative style. Conclusions. V. Hegamyan's creativity and teaching are frankly synthetic in nature. Both of his activities are based on classical traditions, but as a result are qualitatively new artistic phenomena. Hegamyan's artistic style is a kind of symbiosis of masterful realism and modernist principles of symbolism, expressionism, fauvism, and constructivism embodied in monumental techniques. V. Hegamyan's genre work is widely represented: from studies of classics, landscapes, still lifes, wonderful realistic and conventional portraits to huge genre paintings. There are strong ethnic motifs in the artist's work: both Armenian and Ukrainian, while the artist nevertheless operates with general aesthetic categories, finding his own symbolic and figurative meaning.

СТИЛІСТИКА КУБІЗМУ У ТВОРЧОСТІ УКРАЇНСЬКОГО ХУДОЖНИКА-БАТАЛІСТА ЛЕОНІДА ПЕРФЕЦЬКОГО

Author(s): Zhanna Denysіyuk / Language(s): Ukrainian Issue: 4/2023

The purpose of the work is to investigate the influence of modernism artistic currents, in particular cubism, in the work of the Ukrainian battle artist L. Perfetskyi, analysing the artistic manner and the relevance of the interpretation of historical events. The research methodology is based on the application of a set of methods: general theoretical – analysis, systematisation, generalisation of the researched sources; historical-retrospective – for studying the stages of artistic creativity and works of the artist; art critic – for the analysis of the general creative style and artistic manner of the artist. The scientific novelty of the work lies in the generalisation and systematisation of the creative heritage of L. Perfetskyi in the realm of battle painting, which vividly reflects the days of the armed struggle of Ukrainians for independence at the beginning of the 20th century; attention is also focused on the relationship between the direct participation of the artist himself in combat operations and his service in the ranks of the Army of the Ukrainian People's Republic with subsequent creative activity, which influenced the formation of the artist's original style in combination with the stylistics of cubism and other modernist searches. Conclusions. As a result of the conducted research, it was established that despite the partial loss of the artist's heritage, those works that have survived testify to the unparalleled talent and artistic originality of the artist, who was a witness of real events and masterfully embodied all that in artistic works. L. Perfetsky joined the cohort of Ukrainian combat artists and at a high artistic level managed to recreate some of the most difficult periods of Ukrainian history, which is supported by his personal view of these events as a direct participant. In addition, from an artistic point of view, the works of L. Perfetskyi are marked by artistic appeals and searches among the modernist European currents of cubism, which was constantly reflected in the increased expression and dynamics of the paintings. All this fills the content of his works with realism, capable of conveying the truth of what has been seen through many decades.

УКРАЇНСЬКЕ МИСТЕЦТВО ВИТИНАНКИ: ІСТОРИЧНИЙ РАКУРС І СУЧАСНІСТЬ

Author(s): Tetiana Sergeevna Reva,Anna Sviatnenko / Language(s): Ukrainian Issue: 4/2023

The purpose of the research is to highlight of the vytynanka art as an integral component of traditional Ukrainian culture. The research methodology is based on the application of a systemic approach and includes the following methods: analytical, comparative-historical, art history, cultural for comprehensive reflection of the outlined issues and the formulation of substantiated conclusions. The scientific novelty consists in an attempt to comprehensively consider the art of vytynanka in historical retrospect; the periodisation of traditional Ukrainian vytynanka art was presented; the main trends of the folk vytynanka development are defined; the types of paper ornaments as well as the technique of their manufacture, their typology and motifs of ornaments, tools and materials for the manufacture are revealed. Conclusions. Ukrainian vytynanka is a traditional type of decoration characteristic of Ukrainian culture. This art consists in creating patterns and images by cutting motifs out of paper. Vytynanka has deep historical and symbolic roots, associated with Ukrainian national identity. The main elements of Ukrainian vytynanka are geometric shapes, flowers, animals, birds, symbols and motifs from nature. The ears of corn, the sun, roosters and other symbols are popular motifs, because they have a deep cultural and symbolic meaning. It is often associated with holidays, especially spring and summer, when decorations from vytynanka are used to decorate houses and attributes of festive events. Thus, Ukrainian vytynanka is a beautiful form of decorative art, as well as the important symbol of Ukrainian culture and national identity, passing on heritage and traditions from generation to generation.

ФОРМУВАННЯ ХУДОЖНЬО-ЕСТЕТИЧНИХ КОМПЕТЕНТНОСТЕЙ У СТУДЕНТІВ-ХУДОЖНИКІВ У ПРОЦЕСІ НАВЧАННЯ В ЗВО

Author(s): Oleh Yasenev / Language(s): Ukrainian Issue: 4/2023

The purpose of the article is to examine the development of characteristics, perspectives, and tools that contribute to the formation, in the process of teaching student artists, of self-organisation, self-development, awareness, responsibility during the performance of work (creating an artistic work) and the ability to think creatively, define a problem, set a goal and find a non-trivial way of solving it and learning about oneself and one's capabilities. Solving this problem contributes to increasing the efficiency of training a young, in-demand, competitive and adaptively mobile artist, in the person of whom society will receive a specialist to solve tasks in the field of fine arts, art and culture that are relevant today. The research methodology is based on systemic and value approaches, with the use of general scientific and special methods determined by the artistic and creative paradigm, which made it possible to comprehensively consider the specified problem and obtain appropriate research results. The scientific novelty of the work lies in the understanding of the peculiarities of the formation of artistic and aesthetic competences among student artists in the process of studying in higher education institutions of Ukraine. The acute problem of the lack of scientifically substantiated content bases, methods, principles of formation of artistic and aesthetic competences among students – future artists, related to modern changes in professional art education in connection with the introduction of distance learning into practice, which leads to the modernisation of the very process of studying an artist student. Conclusions. Undoubtedly, this study should take into account modern transformational processes in professional art education in general, and, including, those related to the introduction of distance learning into practice, which will allow to more deeply reveal the essence of the professional training of specialists in the artistic profile and ensure their personally oriented general development. In our opinion, the success and effectiveness of the formation of artistic and aesthetic competences among student artists in the process of studying in institutions of higher education depends on the set of educational conditions under which training will be organized in a separate institution of higher education. It was determined that the following conditions are necessary to increase efficiency in solving the above-mentioned issue: an art-critical approach to the formation of artistic-aesthetic competence; optimal combination of forms, methods and means of educational and artistic activity in a higher education institution; development of a system of practical tasks.

ГЕНДЕРНІ ОСОБЛИВОСТІ ЄВРОПЕЙСЬКОЇ ІКОНОГРАФІЇ ПОЧАТКУ ХІХ СТОЛІТТЯ: ДО ПРОБЛЕМИ АНАЛІЗУ ЗОБРАЖЕНЬ МАРІЇ ШИМАНОВСЬКОЇ

Author(s): Mariia Yanyshyn-Pryimenko / Language(s): Ukrainian Issue: 4/2023

The purpose of the article is to analyse the iconography of Maria Szymanovska in the context of gender specifics of European painting at the beginning of the 19th century. The research methodology consists in the application of the comparative method, which made it possible to compare the images of Maria Szymanowska in the early and late periods of her work; to compare the portraits of the artist with typical images of European women of the studied era, in order to establish the degree of conventionality/originality of her visual image. The historical method and the method of cultural commentary made it possible to analyse and determine the place of Maria Szymanowska's iconography in the panorama of European portrait painting at the beginning of the 19th century. The scientific novelty of the research lies in the understanding of the visual image of Maria Szymanowska through the prism of the gender characteristics of the time. Three unknown portraits of Maria Szymanowska are being published for the first time – finds from the archive of the Vasyl Stefanyk National Scientific Library of Ukraine, which expand the understanding of the iconographic image of the artist throughout her creative biography, and also complement the understanding of the gender specificity of the images of women in European iconography, in particular, women female artists of the analysed period. Conclusions. The analysis of Maria Szymanowska's iconography made it possible to characterise the visual image of the artist as one that fits into contemporary European ideas about fashion, social presentation in the community (in the case of Szymanowska, it is a conscious desire to get closer to the aristocracy) and a romantic type of femininity as a certain aesthetic and worldview ideal. The existing iconography of Maria Szymanowska in its various artistic manifestations (lithographs, watercolours, oil paintings, sculpture) allows us to talk about compliance with the gender norms of the time regarding the proper – and therefore attractive, empathetic, comfortable and, most importantly, socially acceptable – appearance of a woman.

Miedzioryt nagrobka Eufemii Raciborskiej Przyczynek do badań nad jej ikonografią

Author(s): Grzegorz Kublin / Language(s): Polish Issue: 2/2023

Recently, in the Archives of the Polish Province of the Dominican Friars in Krakow, a photograph was found of a copperplate engraving of the tombstone of Princess Eufemia (Ofka), prioress of the Dominican Sisters’ convent in Racibórz, who died and who held a reputation for holiness on 17 January 1359. This tombstone has been in the chapel of St. Dominic in the Sisters’ church in Racibórz since at least the 17th century. It was restored in the Baroque style in 1738 in connection with the growing cult of Ofka and the efforts to get it recognised, as well as the works carried out to extend the chapel and redesign its interiors. The copper engraving was made between 1738–1741 by Georg Lichtensteger based on a drawing by Johann Adam Schöpf. Eufemia’s tomb is full of symbols that refer to her virtuous life and are grounded in her biography, which was written down in 1606 by Dominican Abraham Bzowski and later copied and modified by many other authors.

Ornaments and frontispieces of Old Moldavian manuscripts

Author(s): Marius Tărîță / Language(s): English Issue: 8/2023

In this text, the author addresses the issue of ornaments and other decorations (e.g. letters opening particular paragraphs) in Moldavian manuscripts of the 15th century. In general, the main feature of these manuscripts in decoration was geometricism. Although some of the researchers wrote about the Romanian style, it was specific to monastic schools from Moldavia. These manuscripts were found in Transylvania and Red Ruthenia. Reproductions from Moldavian manuscripts stored in the National Library in Warsaw and the Central University Library in Cluj-Napoca were analysed. For comparison, but also to honor the unknown masters of illumination, there are references to Suceava, Transylvania, Novgorod and Polotsk manuscripts.

Self-Replication exhibition by Nela Hasanbegović, Zagreb, 23.11–2.12.2023.

Author(s): Marta Kiš / Language(s): English Issue: 11/2023

Nela Hasanbegović, umjetnica čije bogatstvo djelovanja reflektira njezine interese neograničene medijem, nedavno je predstavila svoj rad u Zagrebu izložbom SelfReplication kao i popratnim razgovorom koji je uslijedio dan nakon otvorenja. U Galeriji SC u Zagrebu prvi put se predstavila 2009. godine na grupnoj izložbi Am I That Name? čije su autorice i kustosice bile na počecima svojih karijera, neke još i studentice. Od tada je prošlo gotovo petnaest godina, a Hasanbegović je ne samo izgradila značajnu umjetničku karijeru već se i ostvarila kao predavačica na Akademiji u Sarajevu, prenoseći svoje znanje novim generacijama umjetnika. Spomenimo i to kako je prostor Galerije SC u sklopi Studentskog centra u Zagrebu još od sedamdesetih godina prošlog stoljeća poznat upravo po prvim izložbama mlađih autora. Galerija još uvijek njeguje program poticanja autora koji tek dolaze na scenu, ujedno prezentirajući i recentan rad afirmiranih autora. Na ovaj način, povratak Nele Hasanbegović odražava koncept kontinuiranog praćenja autorskih glasova umjetničke scene regije.

The Case of an Unpublished Silver Chalice, The Church of the Holy Ascension of Christ, and Silversmithing in Sofia (Bulgaria) in The Second Half of the Nineteenth Century

Author(s): Darina Boykina / Language(s): English Issue: 13/2023

The paper presents an unpublished silver chalice that dates back to 1875 and originates from the Church of the Holy Ascension of Christ in Sofia. Today, the church is almost completely destroyed, and a great part of its interior, such as icons, iconostases, and church utensils, has been demolished or lost. The inscription placed on its base provides us with a wealth of information about the history of the church. The presented chalice is also an important artifact that fills a gap in the history of silversmithing in Sofia in the second half of the 19th century.

Performans bezobrazluka ili Život kao bezobrazni performans

Author(s): Andreja Drobnjak / Language(s): Serbian Issue: 13/2023

The described practice illustrates the opinion of memory theorists that memories of various social and cultural groups are always present in individual memory; in other words, memory is never purely private and self-sufficient. This raises the questions: How should we approach the study of such practices? Can they be seen as an adequate extension of institutional or professional actions? At the very least, these examples provide us with the opportunity to contemplate concepts such as visibility, the commercialization of art, accessibility, unconventional actions, the complexity of private-public relations, the memorization of space and an authentic understanding of reality where one’s entire life is nothing less than an insolent performance.

Kustoska praksa u službi legitimizacije investitorskog mehanizma kolekcioniranja savremene umetnosti

Author(s): Dunja Belić,Katarina Kuč / Language(s): Serbian Issue: 13/2023

Dream On exhibition, which opened for the public on June 8th, 2022, in the former Public Tobacco Factory in Athens, is presented by the NEON organization. It features 19 large-scale installations, representing just a small piece of the D. Daskalopoulos Collection Gift contributed by a famous Greek benefactor Dimitris Daskalopoulos to four prominent museums worldwide. These 19 large-scale installations are the creations of 19 different Greek and international artists. As contemporary works of art, their themes are concentrated around contemporary political, social, and cultural issues that individuals of the recent past handled or are handling in their daily lives. However, the concept that unites these artworks is the metaphorical interpretation of a dream, signifying vision or ambition. This is the main interpretation offered to visitors of the exhibition. This paper aims to analyze the exhibition as a whole, its contents, and the context in which it was created, thus bringing into question the relations between the curator’s vision and the requests by which he/she has to shape it.

Semana de Arte Moderna

Author(s): Sara Stojev / Language(s): Serbian Issue: 13/2023

The Modern Art Week was a key factor in bringing acceptance of modernism in Brazil, where academism was the only valued ideology. With the change of political parties, industrialization, and increasingly frequent migration, the nation felt a disturbance. The modernists found inspiration in such an atmosphere and felt the need for change. Inspired by European modernism, artists reflected problems through new elements. They saw Modern Art Week as an event and place for radical change. The festival took place in the Municipal Theater in Sao Paulo in 1922. It lasted three days. This festival brought together the rejected cultural elite of Brazil. They gave speeches, and lessons, performed musical compositions and exhibited their artworks. A lot of artists exhibited at the Municipal Theater, and some of the more recognized ones are the poet Oswald de Andrade, the artist Emiliano di Cavalcanti, the composer Heitor Villa-Lobos and the artist Anita Malfatti. The event received criticism, but modernism as a movement was gradually accepted and began its development in Brazil.

Prikaz izložbe "Beta Vukanović - klasik moderne, slike iz kolekcije Muzeja grada Beograda"

Author(s): Jelena Todorović / Language(s): Serbian Issue: 13/2023