DOI: 10.7256/2409-8744.2017.1.19161

Abstract: This article is dedicated to the important in development of design period (1931-1942) that is known as Art Deco. The author reveals its overall stylistic orientation, including the presences of Art Deco trends in the early Stalinist style. The examined period (decade of Art Deco dominance) is viewed as a sequence of alternation of the four stylistic trends, referred to as a famous in theory of design functional, grades, and circular stylization  and their synthesis of the late 1930’s. General methodology of the research is systemic genetics, and partially the cycle theory, including the author’s variation in existential form of both. The main conclusion of the conducted research consists in the fact that the genesis of Art Deco is a transitional state from purely engineering manner of the 1920’s to the baroque and decadent manner of engineering style of the 1940’s – 1950’s. This is demonstrated by the reviewed states of Art Deco style that differ in their form.

DOI: 10.7256/2409-8744.2017.1.19159

Abstract: This article is dedicated to the question of periodization of design history of the XX century, precisely the period between 1920 and 1960.  It is marked as a special “engineering style” with its own distinctive features that are revealed in the text. Within the framework of engineering style, the author highlights three manners that consistently replace each other – archaic, classical, and decadence. On this lowere level of cycles, the regularity is determined that is associated with the 11-year sun cycles explored in A. L. Chizevsky’s heliotaraxy. By the virtue of this mean, design correlates with the history of culture, politics, and evolution of mentality. Thus, a new periodization in the XX century history of design is being established, and the reviewed period serves as its first stage. The author’s main contribution into this work lies in formulation of new periodization in the history of design of the XX century, in other words, a universal technical inter-style with a starting point in 1920 and completion in 1953. It is demonstrated that within the engineering style, have existed and consistently replaced each other the three distinct manners. In addition to this, the author underlines that the most recent manner was postponed for 5 years due to the war, which took all the resources and paralyzed the market competitiveness.

DOI: 10.7256/2409-8744.2016.6.19174

Abstract:   The subject of this research is the development of design over the period of 1942 – 1960’s. This period is not sufficiently studies within the history of design. The difficulty of coverage of the regularities of this stage consist in the fact that a part of it falls on the period of the World War. Considering such specificity, the author forms an image of development of the European and American design. The European line of design originate the new style, while the American acquires them with a delay. This period in the history of design is presented based on the cyclical methodology. The author applies method of existential systemogenetics, which is the progression of the general systemogenetics and technogenetics, theory of cycles, and theory of mentality. The new aspect consists in examination of the period from 1942 to 1953 as stylistically homogeneous, characterized by the decadence of engineer style. The work introduces the new notions about the “postponed development” within the stylistic tends due to the war, which explains the bloom of the “Detroit Baroque”. The author establishes the unity of formal trends in “Stalinist Baroque” and “Detroit Baroque”.  

DOI: 10.7256/2409-8744.2016.5.19177

Abstract: The subject of this research is the creative path of the prominent representative of modernism of the early XX century – international constructivist László Moholy-Nagy. The article is based on the materials of the prepared by the author monograph with the full review about the creative work of László Moholy-Nagy. Classification of the periods of master’s creative work associated with the general status of the cycles of culture and stylistic nuances of the era is presented in this article. The author examines the specificity of his works in 1920’s and 1930’s; and the period of the early 1940’s has been terminated due to the death of the Moholy-Nagy. Multiple illustrations of his works that characterize the three mentioned periods are presented in the article. This work is written from the perspective of systemic and genetic methods in art studies. The structural-cyclical model that allows describing his creative paths is applied. Scientific novelty consists in the fact that this is the first generalizing publication of such type about László Moholy-Nagy in Russian language. But, taking into account the foreign sources, we can state that other researchers of his creative work did not formulate a similar periodization, as well as never considered his works as inscribed into the context of mental evolution in the XX century.