Fine arts
Reference:
Zhelnova E.G.
"Mercury and Argus" by P. I. Sokolov: aesthetics of the painting, search for an artistic image, perception by contemporaries
// Culture and Art.
2024. № 4.
P. 1-13.
DOI: 10.7256/2454-0625.2024.4.70302 EDN: SZHBPH URL: https://en.nbpublish.com/library_read_article.php?id=70302
Abstract:
Purpose of this article is analysis of painting by P. I. Sokolov (1753-1791) «Mercury and Argus» (1776) in context preferences of era. Objectives of study: analyze preparatory drawings and picture; study archival sources, artist reports; reveal process of painting; represent aesthetic ideals of epoch and perception of personality. Our focus will be on artistic process of creation historical picture in second half of XVIII century on example of work by P. I. Sokolov «Mercury and Argus». Research subject is role of sketches from nature, sketch composition in work of P. I. Sokolov on picture «Mercury and Argus». Author considers of visual technique, graphic-plastic composition, preparatory graphic, identifying process of working on picture based on academic education system. Citing quotes from letters, reports and writings of second half of XVIII century author analyses what was typical for art of period under study, what tasks artist set for himself, what conditions were necessary for expressiveness of visual image and idea of picture as well as her positive evaluation by her contemporaries. During study were applied: formal, formal-stylistic, art criticism analysis. Author comes to conclusion that work on historical painting in second half of XVIII century included a large systematic creative process dictated by academic education system at Imperial Academy of Arts. Analysis showed that execution of sketches and drawings from nature became basis for subsequent search for better image. Historical painting of second half of XVIII century reflected aesthetic views and ideals of era, being an artistic embodiment of ideas of theoretical treatises aimed at improving visual image. Novelty of research lies in considering painting not only as part of artistic heritage, but also as a reflection of academic education system at Imperial Academy of Arts in second half of XVIII century and aesthetics of educational classicism.
Keywords:
painting, life drawing, classicism, preparatory drawing, The Imperial Academy of arts, academician of historical painting, Petr Ivanovich Sokolov, art of XVIII century, historical painting, graphics
Fine arts
Reference:
Matyunina D.S., Semyonova M.A., Habibova A.S.
Between Kochel and Kalmunz. Early plein airs by Gabriele Munter at the school "Phalanx" by Vasily Kandinsky.
// Culture and Art.
2024. № 4.
P. 14-29.
DOI: 10.7256/2454-0625.2024.4.70387 EDN: KTUVZZ URL: https://en.nbpublish.com/library_read_article.php?id=70387
Abstract:
The subject of the study of the proposed article is the early plein-air works of the German expressionist artist Gabriele Munter, later a member of the Blue Horseman art association, a student and friend of Vasily Kandinsky. The authors of the article aim to review and introduce into scientific circulation a number of Munter's sketches created by her during summer trips to the plein air in 1902-1903 to the Alpine towns of Kochel and Kalmunz with the Munich art school "Phalanx", headed by Kandinsky. The article also examines the picturesque plein-air works by Kandinsky, created by him in the same years there, in Bavaria - mainly landscapes and sketches of figures in the landscape. The authors of the study see as their task to trace the influence of Kandinsky's artistic manner and his role as a teacher on the formation of a Munter painter. The research methodology includes formal stylistic, comparative methods of art criticism analysis, as well as a comprehensive historical and biographical approach. The relevance of the study is due to its scientific novelty: the authors of the article for the first time in Russian-language art history literature describe the pre-expressionist works of Munter during the period of joint plein-airs with Kandinsky, trace the formation of her artistic vision and picturesque manner, the influence of Kandinsky on her formation. The development of the impressionistic technique common to Munter and Kandinsky in the early 1900s, according to the authors of the article, is combined with individual searches for expressiveness of form and color. The first experiments of plein-air oil painting in a special "spatula technique" under the guidance of Kandinsky were accompanied by the successful search for Munter in the field of graphics, mastering the technique of printing color woodcuts. The authors of the article come to the conclusion that the formation of the original manner of Munter was equally influenced by both pictorial emancipation through sketching practice in oil, as well as their own experiences in drawing and engraving.
Keywords:
study, impressionism, expressionism, landscape, The Blue Rider, woodblock print, graphics, painting, Wassily Kandinsky, Gabriele Münter
History of art
Reference:
JIN F., Fedorovskaya N.A.
Jianzhi art in the works of Chinese artist Ku Shulan (analysis of the creative method on the example of the work "The Goddess of Paper Cutting")
// Culture and Art.
2024. № 4.
P. 30-42.
DOI: 10.7256/2454-0625.2024.4.70404 EDN: YZYKBC URL: https://en.nbpublish.com/library_read_article.php?id=70404
Abstract:
The subject of this article is the study of the work of the famous Chinese master of folk crafts Ku Shulan (1920-2004), which demonstrates the trends in the modern development of the Chinese folk art of paper cutting (jianzhi). Particular attention is paid to the analysis of the collage technique of Ku Shulan, the identification of its creative method, the features of the technological process, the formal-stylistic and figurative-symbolic content of the carved paintings. The paper analyzes one of the most famous works of Qu Shulan "The Goddess of Paper Cutting", which demonstrates the characteristic features of her author's style. The key methods used in this study are historical-cultural, historical-comparative, and historical-biographical, which made it possible to show the work of Ku Shulan in the context of traditional jianzhi art. Also, to study the creative method of Ku Shulan and identify the figurative and symbolic specificity of the work under consideration, formal-stylistic and semiotic analysis was used. The novelty of the research lies in the fact that a detailed analysis of the technological process of creating works according to the method of Ku Shulan is carried out, revealing the specifics of her work with the jianzhi technique and the creative method itself. On the basis of the traditional technique of paper cutting, Ku Shulan created her own technology - she added collage, cutting, gluing and lining, thereby opening up new opportunities for the development of the art of jianzhi. The main conclusion of the study is that in the context of modern globalization, the art of paper cutting by Ku Shulan acts as a rich source of ideas for the preservation, development and popularization of Jianzhi folk art both in China and in the world.
Keywords:
color in jianzhi, Goddess Jianzhi, Chinese Buddhist Symbolism, collage, traditional art, paper cutting, jianzhi, ornament in jianzhi, creative method of Ku Shulan, Ku Shulan
Fine arts
Reference:
Su W.
Reflection of Aesthetic Concepts of Russian Realism in Chinese Visual Art
// Culture and Art.
2024. № 4.
P. 43-52.
DOI: 10.7256/2454-0625.2024.4.70482 EDN: WDNJAI URL: https://en.nbpublish.com/library_read_article.php?id=70482
Abstract:
This paper examines the impact of Russian realism on Chinese visual art, focusing on how Chinese artists have adapted and reinterpreted Russian aesthetic concepts. The study highlights the role of cross-cultural exchanges in enriching both traditional Chinese art and the broader understanding of realism. Through a detailed analysis, the author explores the reflection of Russian realism's social criticism and humanistic ideals in Chinese artistic practices, and how these influences have fostered new artistic forms and themes within China.The research employs comparative analysis of artworks and artistic traditions alongside historical and cultural contexts of both Russia and China. This approach underscores the importance of international artistic exchanges in creating a more diverse and multicultural art world. The study's novelty lies in uncovering the mechanisms of cultural integration and innovation through artistic exchanges between the two countries, detailing how Russian realism has not only shaped Chinese art but also spurred the creation of unique forms that reflect contemporary societal and cultural demands.Significantly, the fusion of Russian realism and traditional Chinese aesthetics has led to a new artistic direction in China that melds global artistic trends with local cultural values. This synthesis has facilitated deeper cultural dialogues and mutual understanding, enriching the artistic traditions of both Russia and China. Artists have been provided with new opportunities to explore innovative ideas and forms, thus strengthening cross-cultural ties and expanding the boundaries of artistic interaction. The paper emphasizes the transformative power of this artistic merger in enriching the global art space and fostering a more inclusive and varied artistic milieu.
Keywords:
Artistic traditions, Intercultural interaction, Innovation, Adaptation, Humanistic ideals, Social criticism, Cultural exchange, Chinese visual art, Russian realism, Cultural integration