Naujausiųjų laikų Lietuvos dailės istorijos klausimu

Author(s): Lolita Jablonskienė / Language(s): Lithuanian Issue: 2(27)/2002

At the end of the 80s when the young generation of Lithuanian artists started to reform radically their strategy, an ambition to consolidate one’s identity as a representative of the Modernity became one of the major issues. Modernity is marked by emancipatory politics. In the spheres of politics, economy, as well as culture and arts, the emancipatory politics can be understood as an aspiration for the freedom from. Lithuanian intellectuals of the Soviet time, as the culture theorist L. Donskis argues, desired a different freedom - freedom for, avoiding to interpret this notion politically but rather taking it as a mere cultural category. The juncture of the 80s and 90s witnessed a growing tendency towards the freedom from - first of all from the mythologization of tradition and the dominance of old hierarchical structures. In the late 90s, emancipatory gestures were gradually going down. Emancipatory politics was changed or substituted for decision-making policy, which is typical of Late Modernity. After emancipation there is no separation between poetics and politics, art and life, individual and society, East and West, male and female. There exists a context linked by the complex relationship of inevitable dependence. Fluidness and collage, so typical of the recent Lithuanian artists' production as well as of art projects, reflect this context as a live organism in action.Employing the notion of artistic strategy instead that of stylistic tendencies enables to create the wholesome picture of the history of Lithuanian art of the 2nd half of the 20th c. otherwise torn into difficultly comparable parts due to different social and political circumstances.

Juozas Ignatavičius ir tarpukario Lietuvos istorinė tapyba

Author(s): Vidmantas Jankauskas / Language(s): Lithuanian Issue: 2(27)/2002

The article is the first attempt to disclose the artistic biography of Juozas Ignatavičius and to measure the artistic value of his output, the subject not yet touched in the Lithuanian publications on art. Ignatavičius' works are reviewed in the context of the inter-war artistic culture. The author analyses the development of the historic scene painting, points out the major works on this theme and indicates the specific features of this genre. In addition, the popularity of the stylistics of academic realism in the inter-war art is shown. In the conclusion, the author points out the timeliness and actuality of such a genre and asserts that a kind of break in the historic consciousness of society and the shift from romanticism to modern ideas lent marginality to Ignatavičius' works possessing features of amateurish academism.

Problema textului și a imaginii în pictura murală ortodoxă: o abordare structural-semiotică (parte a III-a)

Author(s): Constantin I. Ciobanu / Language(s): Romanian Issue: 1/2016

The third part of the study „The problem of text and image...” is devoted to the typological classification of the inscriptions in the Romanian medieval art. Specialists in paleography observed non-compliance – extremely common – dating between actual painting of icons and the inscriptions dating from the same icons. One of the reasons for failure of traditional palaeographical methods in the research of epigraphic texts is related to the ineffectiveness of nomenclature types of characters taken from writing on parchment or paper and applied to hard materials such as wood, stone or metal. The difficulties, mentioned above, in the second half of the Twentieth century have pushed forward taxonomic investigations of medieval inscriptions. The methodological principles of epigraphical classification have been substantially clarified and finalized. Inscriptions on Orthodox icons and mural paintings were grouped according to various criteria: material and technical execution, location, language, content, form, time and so on. Thus, it was built the general typology of the texts and the inscriptions of the Ancient Orthodox Art. A second issue mentioned in the study is referring to morphological and grammatical structure of the names (theonyms, hagionyms, anthroponyms, names of places, eortonyms, ekklesionyms, icononyms) present in medieval icons and mural painting. The end of the study is addressed to issue of hierotopy’s genesis – seen in close connection with the acting-pragmatic aspect of the relationship between the work of Christian art and its users.

Pictorii basarabeni în Belgia și acasă

Author(s): Tudor Stavila / Language(s): Romanian Issue: 1/2016

The visualization of God duality is paid special significance in synagogue wall paintings in Eastern Europe. Taking a glance at synagogue decoration, as at a system of binary oppositions, reveals an entire series of compositions depicting the Divine principle, which dictates cosmological cyclicity, acts as judge over God’s Chosen People, and rules this People’s history and religious piety. Among these works, compositions thematizing Jewish historical time (mourning the exile from the Promised Land and expressing the hope for a Messianic return to the Holy Land of the Forefathers); the labor of delving into the secrets of Torah study and the joy of achieving this; the balance of Divine and demonic forces in creation; and Divine bounty and blessing for the righteous and retribution for evildoers. Based on passages in the Torah, Rabbinic sources, and medieval culture, these images would at different times form a part of the synagogue painting repertoire reflecting the God-fearing, mystical spirit of Eastern European Jewry.

Istoriografia problemei artei metalului în Basarabia

Author(s): Liliana Condraticova / Language(s): Romanian Issue: 1/2016

The scientific paper aims to sum up the most relevant publications on the art of metals from Bessarabia in the context of the evolution of artistic metal processing in Europe. The problem of metal art development has been reflected in scientific papers of different character. The multitude of topics allowed outlining the historiography on guilds and craft workshops, the activity of artists and the most representative works of goldsmiths and hardware artistic objects. It was found that at the current stage of research, despite the presence of a series of recent publications, the objects of precious and common metals from Bessarabia did not benefit from an interdisciplinary study that would give a comprehensive answer to the historical, artistic and technological investigation. We conclude that the issue of metal art evolution was addressed unequally in historiography. The diversity of publications focusing on different topics, which provided necessary documentary support, serves as proof.

Arta decorativă din RSS Moldovenească, anii 1951-1960. Repere arhivistice

Author(s): Constantin Spînu / Language(s): Romanian Issue: 1/2016

Based on extensive archival documentary material, the present article introduces new and unknown, so far, data on the processes of formation and development of the professional decorative and applied arts in the Moldavian SSR during the sixth decade of the twentieth centuryinto scientific circulation. The article highlights the contribution made by the artists Serghei Ciokolov, Iachim Postolachi, Valentina Neceaev, Pavel Bespoiasnâi, Tatiana Canaș, Valentina Tufescu-Poleacov, Grigori Filatov and Vladimir Novikov the consolidation of Decorative and Applied Arts Division of the Union of Artists of Moldova, to determining the strategy of its development, and the delineation of genres and stylistic trends of creativity in the given period. Aspects of the relationship between professional artists and the industry producing artistic goods are also elucidated. The challenges faced by artists in the creative process are examined.

Grafica de carte din RSS Moldovenească în perioada de instaurare a realismului socialist (1940-1953)

Author(s): Victoria Rocaciuc / Language(s): Romanian Issue: 1/2016

Initially, the publishing processes in MASSR and Bessarabia of the interwar period developed completely differently in the aesthetic and ideological scope. Their unification is observed after 1940. In the art of book graphics of the Moldavian Soviet Socialist Republic, the transition to socialist realism was characterized by documentation and the domination of illustration characteristics, accumulation of professional skills, formation of creative manners and the author’s styles of illustrators. Evgheni Meregawas among the first graphic artists involved in these processes who cooperated with: Tiraspol State Printing House, the State Publishing House (Chisinau), „Shkoala sovetica” and „Uchpedgiz”. Boris Nesvedov and Valentina Neceaev started in the interwar period. In the period1940–1853, Leonid Grigorașenco, Ilia Bogdesco, Boris Șirocorad, Iacob Averbuh, Ioachim Postolachi, Aleksandr Neforosov etc. made a name for themselves in the field of book graphics.

Pictura Anei Baranovici (1906-2002)

Author(s): Ludmila Toma / Language(s): Romanian Issue: 1/2016

The present article reflects the evolution of artistic creation of the Bessarabian artist Anna Baranovici, who preserved a harmonious vision of the world and the tendency to express the energy of life in nature motifs and in the human faces. Personality features had already been revealed in the pre-war period, when the realistic basis of her creation was formed, and in the paintings made in soft tones in the 40s –50s. In the early 60s, colour takes on greater importance and the shapes of objects are made in a generalizing way in the works accomplished in poetic spirit, such as Amiaza (Noon), In livezi (In the Orchards), Tutunăresele (Tobacco pickers), in landscapes and numerous still-lives. The clarity of plastic language, the compositional balance, the sense of tone and integrity of the canvas space render monumental expression to the still-lives, which depict simple objects, fruits and flowers. Her works are distinguished by the splendour of coloured bouquets. The unity of the emotional spirit is achieved through the fact that the painting emanates light.

Casa de Modele din Chișinău. Primii ani de activitate

Author(s): Natalia Procop / Language(s): Romanian Issue: 1/2016

With the opening of the Union Fashion House (Moscow), similar institutions appear in major cultural centres of the USSR (Leningrad, Riga, Kiev, Lvov, Vilnius, Minsk, Tbilisi and other). According to the Order of the Council of Ministers of the Moldavian SSR of November 24, 1953, the latter assumed the responsibility to establish a Fashion House in Chisinau in 1954. The institution’s obligation was to offer aid to factories, to carry out controls on improving clothing models etc. The Fashion House from Chisinau developed rapidly. It participated in international competitions and the International Congress of Fashion. The institution had sewing workshops, where dresses, stage costumes etc. Were made to order. Chisinau Fashion House was a genuine cultural centre for apparel, which influenced the aesthetictaste of the population, so that the development of the domainis closely linked to the given institution.

Portretul în interpretarea sculptoriței Alexandra Picunov-Târțău

Author(s): Ana Marian / Language(s): Romanian Issue: 1/2016

Before getting hold of the title of one of the most deserving portraitists of the Republic of Moldova, thesculptorAlexandrаPikunova-Tyrtseu (1928–2002) underwent a difficult and contradictory artistic path. The education received in the Republican School of Fine Arts, named after I. Repin, in the workshop of the famous sculptor Claudia Kobizeva, who was also an outstanding portraitist, formed her professional skills. According to the topic, but also stylistically, her sculptural works can be divided into two groups: portraits of contemporaries (heroes of labor, military men, ordinary people) and portraits of colleagues (artists, sculptors, art critics). Due to experiments with the image in the first group of portraits, the sculptor managed to generate her personal style. In the 1970s, the discrepancy between the rigors of the official socialist realism and the sculptor’s own aspirations becomes apparent.

Metode și mijloace de organizare a spațiului scenic în creația lui Boris Socolov

Author(s): Vitalie Malcoci / Language(s): Romanian Issue: 1/2016

The formation of Moldovan art of scenography and the emergence of new trends in theatre art is also determined by the activity of one of the most consecrated contemporary scenic artists – Boris Sokolov. Working as a scenographer for over four decades, he contributed to the diversification of the theatrical plastic language through various principles and methods of expression. His works of the 50s–60s stand out through the tendency of reflecting genuine motifs in the décor, with certain changes in the procedures of the means of expression. In the 1970s–1980s, new tendencies arise in the scenic space designing. Consequently, we observe, in B. Sokolov’s creation, not so much the reproduction of the action’s place, but the expression of the action itself through the application of lighting effects and the diversity of used materials.

Compoziţia tematica în grafica de şevalet. Anii 1980-1990

Author(s): Tatiana Raşchitor / Language(s): Romanian Issue: 1/2016

The evolution of thematic composition in MSSR arts was hampered in terms of style and themes by the social and cultural context of the time. Therefore, most of the compositions created during the Soviet decades reflected pre-established models. However, a more detailed examination of thematic compositions created during the 1980s convince us of the beginning of democratization within artistic environment, emerged in the background of collapse of the old ideology. We notice new visions in the compositions signed by Victor Cuzmenco, Igor Liberman, Nina Danilenco etc. Their works have the unique artistic approach infused with dreaminess, melancholy, symbolism and transcendence, or present new topics by appealing to different artistic manners. With the collapse of the communist paradigm, artistic space has acquired a heterogeneous and eclectic character, receptive to contemporary art trends. Anthropocentric and sacred perspective represented by the works signed by Emil Childescu and Leonid Grigoraşenco in the easel graphic of the 90s coexist in relative proximity in to inherent mental models of contemporary time represented by the works of Gheorghe Diaconu, Simion Zamsa, Elena Karacenţev etc.

Martor sau martir? Mesaje violente în practicile artei contemporane din Republica Moldova

Author(s): Lilia Dragneva / Language(s): Romanian Issue: 1/2016

The article presents a study of violence phenomena in contemporary art from Moldova. Are examined some studies cases from the universal art, which can be also found in autochthonous contemporary art process. The „rebel” Artist appears while as a martyr – demonstrating an inner implosion personal-identical or as a witness (contemplator) of events, keeping the status of an unaffiliated to what happens. The author has been structuring these events in certain categories, such as: Documentation/reenactment of violence, which took part; Underworld violence/the collective myth; Astound trough violence; Sacralization/aesthetics of death; Violence through ideology and ideology through shamanism; Engulfment or violent confuse; The persiflage of violence; Violence by image/media abuse; Violence through implosion and resistance; Violence in public spaces.

Elena Bontea - o pictoriţă a discreţiei şi a rafinamentului

Author(s): Eleonora Brigalda / Language(s): Romanian Issue: 1/2016

Mihai Grecu şi valorile simbolistice ale artei naţionale

Author(s): Eleonora Brigalda / Language(s): Romanian Issue: 1/2016

Německá grafika 15.–18. století ze sbírek Jiřího Karáska ze Lvovic

Author(s): Barbora Vlášková / Language(s): Czech Issue: 47/2015

Works of German engravers who fundamentally influenced the development of the woodcut and the copper engraving in central Europe constitute an important part of the prints held in the Karásek Collection. Among them are works by the most important German masters of the fifteenth and sixteenth centuries, including Martin Schongauer, Michael Wolgemuth, Albrecht Dürer, and Hans Schäufelein (a pupil of Dürer’s), and also artists of the seventeenth and eighteenth centuries who found inspiration not only in Dürer’s engravings, but also in Italian, Netherlandish, and French art.

Hopper/Gustowska. Alternatywna historia sztuki kobiet

Author(s): Agata Jakubowska / Language(s): Polish Issue: 01/2016

Since 2008, Izabella Gustowskahas engaged in a dialogue with the twentieth-century American painter Edward Hopper. In the course of finishing a triptych composed of the following three paintings: "Przypadek Edwarda H…" ("The Case of Edward H..."), "Przypadek Izy G…" ("The Case of Iza G...") and "Przypadek Josephine H…" ("The Case of Josephine H...") – her attention shifted increasingly from Edward Hopper to Josephine Hopper, an artist in her own right as well as her husband’s model. In this text, author traces Izabella Gustowska’s position vis-à-vis both Hoppers. She directs the reader’s attention to the importance of the relationship, on the one hand, between Edward Hopper and Izabella Gustowska, two artists whose work deals in different ways with Josephine Hopper, and on the other hand, between Josephine Hopper and Izabella Gustowska, two female artists who faced similar decisions and chose diverse creative paths. Autohor analyses the most essential aspects of Gustowska’s dialogue with the Hoppers: how she works with biography, how she topicalises their work, and how she personalises it.

Miałam w głowie obrazy...

Author(s): Marek Wasilewski / Language(s): Polish Issue: 01/2016

Interview with Polish artist Izabella Gustowska

A visszájára fordított táj

Author(s): Zoltán Rockenbauer / Language(s): Hungarian Issue: 4/2016

Ország Lili első magyarországi gyűjteményes kiállítása

Author(s): Mária Árvai / Language(s): Hungarian Issue: 4/2016