Abstract: The subject of the research is the ethological aspects of Charles Drawin's theory of kinesics and their role in the art criticism of Heinrich Wölfflin, Aby Warburg and Ernst Gombrich. Special attention is paid to the analysis of applying kinesics as a non-verbal universal in the history of art. The researcher describes communicative and aesthetic functions of kinesics in art in relation to the mechanism of empathy based on the imitation function of the figurative language of graphic arts. Limanskaya analyzes views of Heinrich Wölfflin, Aby Warburg and Ernst Gombrich on the role of kinesics in relation to their views on the role of kinesics in the development of the emotional memory. Based on that, she traces back the connection between kinesics and collective unconscious as well as cultural archetype. The methodological basis of the research is based on the analysis of the role of sensualist ideas in the devlopment of evolutionary, psycnoanalytical, semiotic methods of studying the history and theory of art. The scientific novelty of the research is casued by the fact that the author studies the role of kinesics in the development of the figurative language of graphic arts. For the first time in the academic literature the author of the present article traces back the influence of sensualism, evolutionism and psychoanalysis on art studies of the 19th - 20th centuries as well as describes a number of parallels between ethology and art studies in relation to the communicative function of kinesics as a non-verbal universal of the figurative language in graphic arts. 

Abstract: The subject of this research is the socio-psychological functions of faith, fear, laughter, and enthusiasm in the semantic inversion of imageries of social realism, social art, and conceptualism. The goal of this work is to follow the dynamics of a cultural archetype within the history of the Soviet art, its historical links and transformations. The author pursues correlation between the images of faith, fear, laughter, and enthusiasm as the semantic codes that define the ideological orientation of development of art systems in the history of Soviet art. The method of semantic analysis of the cultural codes of social realism, social art, and conceptualism allows cognizing the role of the collective unconscious in establishment and transformation of the cultural archetypes in Soviet art. In this article the author poses a question about the role of emotional expressiveness of images in the Soviet art in a new way. The author demonstrates how the fear, laughter, and enthusiasm in the art of social realism and post-Soviet avant-garde unite into the symmetrically-opposing semiotic-culturological projections. The issue of semantic inversion in art from social realism to conceptualism the author associates with the analysis of the role of ideological reforms in establishment and development of a cultural archetype.

Abstract: The article is devoted to the role of the semantic inversion in cultural archetypes of socialist realism and Soviet Pop Art. The author of the article traces back to the relationship between socialist realism and didactics of Christian world perception. Limanskaya defines the role of semiotic codes and iconographic formulas that allowed the ideology of socialist realism to acquire the status of a particular worldview in art. The author also describes ideological stereotypes of socialist realism and analyzes types of their deconstruction in Soviet Pop Art. The research method is based on the comparative analysis of cultural archetypes in socialist reliasm and Soviet Pop Art. As a result, the author comes to the conclusion that in Soviet Pop Art the change of the semiotic code of socialist reliasm is based on the semantic inversion that appears in response to structural symmetry of cultural archetypes. The research method is also based on the research of the role of cultural archetypes and inversion of art images in iconographic programs of socialist realism and Soviet Pop Art. According to the author of the article, socialist realism deconstructed the Christian mythologem and replaced it with the Communist  mythologem. That substitution was possible due to their structural symmetry. The change of the semiotic code of socialist realism in Soviet Pop Art was also based on the mechanism of the semantic inversion as a response to the structural symmetry of existing semiotic codes. 

Abstract: The origins of the development of various areas of avant-garde art of the first decades of the twentieth century, largely due to the global activities of Vasiliy Kandinsky, David Burliuk, Vladimira .Izdebsky, T.Fraerman, A.mshey Nyurenberg, Michael .Boychuk. Important role in the artistic life of the region played Odessa Art School, many graduates who continued their education in the major artistic and educational centers in Russia and Europe. In search of creative artists of the early twentieth century, shows the influence of French Impressionism, Post-Impressionism, Fauvism, Cubism, German Expressionism, Italian and Russian Futurism. The variety of artistic styles in the Odessa painting beginning of the twentieth century due to the fact that many graduates of a drawing school continue their education in the Paris, Munich, Krakow, Vienna.The close relationship Odessa artists with Western art centers formed a special artistic atmosphere in which, along with realistic actively developed the latest artistic trends.

Abstract: The article deals with natural philosophy and views of Lomonosov on light and color as well as his attitude to the optical ideas of Newton, Descartes and their followers in the middle of the XVIII century. Special attention is paid to Lomonosov's theory of three-color vision and his scientific and art experiments with colored glass. The result shows that his scientific experiments were closely related to the field of art mosaic.