Man and Culture - rubric Art and Art History
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MAIN PAGE > Journal "Man and Culture" > Rubric "Art and Art History"
Art and Art History
Shirieva N.V., Kovrikova E.V. - Principles of musical cosmogony of S. Gubaidulina (on the example of the cycle Dedication to Marina Tsvetaeva pp. 10-16

DOI:
10.25136/2409-8744.2018.1.25595

Abstract: The subject of this research is the peculiarities of manifestation of ontologization of musical thinking of Sofia Gubaidulina, through which mythology, religiosity, and “bivalence” in unity of the alternative worlds allow experiencing the logics of sensemaking of the composer within the paradigm of cosmogenic myths and natural beginning. It justified the authors’ attention to the examination of differentiation of sonoristic fabric of the choral oeuvres of the composer and two methods of vocal intoning – pure and with a savor of inhale – through amounting them to the categories of Cosmos and Chaos, characteristic to the artistic credo of Sofia Gubaidulina. The religious component of musical content of the composer substantiated the perception of dramaturgy of S. Gubaidulina’s works from the perspective of eschatological myths. However, the “bivalence” of S. Gubaidulina’s allows tracing the result of combining the diverse mythological models: “translucency” through the structural basis of the plot that requires determination of the own ontological status and system of myths of the cosmogenic type. Examination of S. Gubaidulina’s within the paradigm of cosmogenic myths enables adjusting the global opposition of the immanent and the transcendent, opposition of Chaos and Cosmos that is the basic ground for the structural logics of cosmogenic myths. Clarification of the ontological status of structural model of mythological thinking of S. Gubaidulina allows correcting the analytical parameters of interpretation of her musical compositions (on the example of the choral cycle “Dedication to Marina Tsvetaeva”) from the standpoint of the ancient cosmogenic models, manifesting in their sounding matter and structural methods of its organization the system of oppositions, within the foundation of which underlies the mytheme of natural-artificial (or natural-cultural).
Belonosova I.V. - Peculiarities of the embodiment of suite genre in the compositions of Evgeny Kravtsov pp. 24-33

DOI:
10.7256/2409-8744.2016.5.20389

Abstract: This article is first to examine the chamber-instrumental compositions of the Siberian composer E. N. Kravtsov. The author suggests a thought that the suites created during the period of 1964-2000 for piano and violin and piano, comprise a specific page of the composer’s works, demonstrating the version of composition of the baroque suite. The main compositional features of the baroque suite and the level of their realization in Kravtsov’s works are being analyzed. The historical angle allows determining the main invariant of the baroque suite and its importance for all of the further historical epochs. The most essential features of the baroque suite are examines in the context of comparative analysis of the compositional models of the suites of E. Kravtsov and other composers, including the Western European. The conclusion is made that the invariant of the baroque suite was viewed by the composer as a model and symbol of the Baroque Period, as well as embodied the ideal of the harmonic and classically balanced musical composition. The presented in the article statements are confirmed and clarified in the detailed analytical schemes. The article expands the ideas about the specificities of the chamber-instrumental suite in the works of the contemporary Russian composers.
Matyunina D.S. - To the question of portrait concept of K. A. Somov of the mid 1890s: portrait of N. F. Auber pp. 34-39

DOI:
10.25136/2409-8744.2018.1.25685

Abstract: The subject of this article is the picturesque portrait of Natalia Frantsevna Auber by Konstantin Andreevich Somov that refers to the early period of his works – mid of 1890’s. The portrait is viewed in the context of the scenic pursuits of the painter of the prior to “World of Art” stage. The scenic manner alongside the portrait concept are also analyzed with consideration of the impact upon the works of K. A. Somov of the relevant trends of Russian and European portrait paining of the turn of the XIX-XX centuries: traditions of the Russian realistic portrait, European and Scandinavian lines of impressionism and salon. The author applies the method of comparative art analysis, viewing the portrait of N. F. Auber made by K. A. Somov in contrast with other works of the painter and his contemporaries. A particularly valuable contribution into the research of Somov’s portrait concept is defined by the analysis of the new trends emerging in the portrait of N. F. Auber: compositional structure, decorativeness of painting, specificity of spatial structure, and color specificities. All of the listed features are emphasized by the author of the article as the key for establishment of iconography of Somov’s portrait of the “mature” period.
Mu K. - Transformation of images of the Soviet visual arts during post-war period (1945-1960) pp. 45-56

DOI:
10.25136/2409-8744.2017.5.23778

Abstract: The subject of this study is the Soviet art in the context of evolution of the postwar artistic culture (1945-1960). Attention is also focused on the growth of artistic corps, influx of young forces, national and creative diversity of artworks as an achievement at the examined timeframe. The aim goal of the article consists in the need for expanding the existing knowledge on visual arts of the first fifteen postwar years, which is closely associated with the preceding stage – period of the Great Patriotic War. Emphasis is made on how the artists sought to capture the crucial events of the historic battle for freedom, reveal the underlying causes that ensured victory of the USSR, as well as high moral qualities of the Soviet people. The study highlights that the painters who survived the years of grievous suffering during the Great Patriotic War, revealed the new, previously unknown depths of the national character. Artists noticed a hero in the most ordinary Soviet man. From the perspective of the theory of art, the author characterized the relationship between the concepts of "Soviet art", "officially approved art", and "realistic method". The research methodology implies the method of analytical study of sources that clarifies the logic and content of the Soviet painting of the indicated period. The methodological base for the study includes the thematically necessary compilations on the theory and history of art, history of the Soviet culture, and philosophy of art. The author also used a number of electronic publications. The basis of the article lies in the comparative-historical method that helps to determine the specificity of Soviet visual arts of the postwar period (1945-1960), which allows citing that the Soviet scholars trace the transformations in the artistic-imagery structure of Soviet starting back in the prewar period. The scientific novelty consists in revising the evolution of Soviet postwar visual arts from the perspective of direct impression of the artists who have participated in the war, as well as in description of the significance of the work of Russian painters in development and preservation of the Russian art of the XX century. In conclusion, the author underline the fact that the visual arts during the period of 1945-1960 affected the popularization of the themes of Russian painting of the postwar years, which was dedicated to the events of the Great Patriotic War. On the materials of the battlefield memories, Soviet artists have created a vast amount of paintings. In addition, the unofficial art that was represented at the exhibitions and generated government’s criticism entered the cultural arena.
Makeeva S. - Installation discourse: key positions and concepts pp. 49-64

DOI:
10.25136/2409-8744.2020.2.32471

Abstract: The subject of this research is the fundamental positions and concepts of installation discourse, i.e. key texts that are dedicated to installation and formed representation on this artistic practice. Installation discourse has emerged in the West in the early 1960’s, and presently there can be determined the “anchor points, “objective concepts”, main positions and vectors of installation analysis. Elements of the discourse include academic monographs, such as art criticism, texts of artists, and exhibition catalogues. The article employs the methods of discourse analysis of E. Laclau, C. Mouffe, N. Fairclough, as well as general discourse theory of M. Foucault described in the “Archeology of Knowledge”. The conducted discourse analysis allows making the following conclusions. The three main vectors of installation discourse can be associated with three “turns” of philosophy and humanistic thought of the XX century – phenomenological, linguistic and performative. Discourse analysis allows tracing the meanings imposed on the “anchor points” in various vectors of the discourse. Discourse analysis gives a perspective on the “objective concepts” of discourse that underlie the understanding of installation at the present stage – “theatricality”, “indermediality”, “unlocked”, anti-object character of installation, site-specificity; institutional criticism, multisensority and ephemerality.
Averyanova O.N. - Between the photography and art. Certain aspects of publication Photography is Not an Art. Man Ray/André Breton (1937) pp. 54-63

DOI:
10.25136/2409-8744.2019.3.26500

Abstract: This article is dedicated to the analysis of a small album “Photography is Not an Art” created in 1937 by the French painter and photographer of American descent Man Ray in collaboration with the leader of surrealism André Breton. The selection of images and their inscriptions along with the poetic preamble of Breton represent a distinct artistic concept, which yet remains insufficiently studied and open for multiple interpretations. The study explores a number of questions related to the discourse on the art of photography, which gained relevance due to the growing interest of avant-garde artists, as well as the attitude to this topic of one of the prominent representatives of modernism. Attention is focused on the unique visual row in the context of creative ideas of the 1930’s: Dadaism, surrealism, and “new thingness”. The scientific novelty consists in presentation of the author’s original conclusions on correlation between the personal aesthetic program of an artist and cultural practices of the era. Rhetoric and semantics of photography as a “specific art” is associated with its unique descriptive ability to be not just straightforward and truthful, but also ambiguous and illusory. The album images actually demonstrate the possibility to make visible something that does not belong to the row of visible, and thus notional. The author concludes that a “banal”, often not deserving particular attention of the researchers Man Ray series of photographs is not secondary, and the project itself, brought to life by a modernist artist possessing a high level of competence in the area of cultural marketing, demonstrates a new specificity of “creative production, its relevance to aesthetic, ideological, or commercial visual model.
Yaylenko E. - The image of Saint Jerome in the art of Venetian Renaissance and the ideal of contemplative recreation pp. 64-79

DOI:
10.25136/2409-8744.2019.3.26567

Abstract: The subject of this research is a group of artworks of the Venetian Renaissance, united by depiction of the same creative theme – the image of Saint Jerome, Christian writer and priest, among the rural nature. Its composition in the local school is associated with the spread within Venetian society of the humanistic ideal of contemplative recreation, embodies in the image of the Saint, at times, identified with the persona of Renaissance humanist. Special attention is given to the works of the leading artists of the local school of painters – Giovanni Bellini, Lorenzo Lotto, Titian, which reflect the evolution of such image, since the influence of the principles of humanism, and later affected by ideological orientations of Counterreformation. The research method consists in examination of the various iconographic types of image of the Saint, giving special attention to the analysis of artistic construct of the demonstrated scene and principles of compositional organization surrounding the landscape, as well as the combination of landscape and human figure in format of a painting. The scientific novelty is defined by the fact that the author is first to trace the historical evolution of depiction of Saint Jerome in the Venetian art, as well as demonstration of appearance of the new iconographic scheme, which represented the Christian theologian contemplating among the nature, similar to a classical philosopher. Its realization was limited by the first two decades of the XVI century, after which the painters came back to depiction of Saint Jerome corresponding with the requirements of the religious dogmatics.
ZHANG Z. - Court Painting in Qing Epoch: Documentary Artworks pp. 75-90

DOI:
10.7256/2409-8744.2016.2.19406

Abstract: In article Court Painting in Qing Epoch: Documentary Artworks by Zhang Zongguang the study object is palace painting of the period specified. The subject matter is Qing epoch paintings created by palace artists and reflecting real persons and events true-to-fact. The author reviews in details works dedicated to real war actions, emperors inspection campaigns, sacrifice, ceremonies, feasts, offering gifts, hunting. Furthermore, the difference of concept realism in European and Chinese art history is outlined. The author pays special attention to demonstrate artistic features of these works and shows, how Sino-European style is manifested in some of them.Methodology base of the article is philosophical and general scientific as well as specific scientific methods and principles, such as comparative principle, historical method, system-oriented analysis, analysis and synthesis, induction and deduction; methods of art history study of large quantity of pictorial material, comparative stylistic method; cultural methods of study of socio-cultural realities, including comparative, sociological, axiological, semeiotic ones. The novel nature of the conducted investigation, particularly, on the basis of some material firstly introduced in Russian art history, is given by detailed art history description and attribution of documentary artworks, by evidenced confirmation of high artistic and historical value of the works, by verification of synergic nature of interference of Western and Chinese techniques during Qing epoch.
Burmatov M.A. - Conception of the new forms of song repertoire in Soviet Russia (1920s 1930s) pp. 88-97

DOI:
10.7256/2409-8744.2017.1.22039

Abstract: The object of this research is the Soviet song of the 1920’s – 1930’s as a genre stylistic phenomenon. The subject of this research is examination of the issues of history of development, content structure, and peculiarities of the song repertoire during these years. The shift in sociopolitical formation in Russia caused by the revolutionary events of October 1917 that drastically changed the national cultural identity, including the song art. The article makes an attempt to trace the performing traditions of that period (folk song, urban folklore, mass song). Using the method of analysis, the author underlines the presence of crisis in a number of the traditional song genres and development of the new forms of song repertoire on the background. The article points at certain peculiarities common during this timeframe to the Russian vocal art. Accent is made on the development of lyrical intonation in a song, which encouraged the popularization of musical compositions. The author highlights the role of jazz music culture as an accelerator in development of the new features in stage music art.
Sokolova M.V. - Main typological elements and their meaning in the Victorian country estate pp. 97-106

DOI:
10.25136/2409-8744.2019.2.29300

Abstract:  The object of this research is the British country estate of the Queen Victoria. The subject of this research is the typological elements common to the country mansions of Victorian era, such as the tower, so-called Great hall and chapel. It is worth noting that these elements are not just typical for the Victorian country mansions, but carry a paramount semantic charge. The ideas of social ministry and moral responsibility to the public, so important for the Victorian era mentality, find visual reflection in these forms. Methodology includes such traditional research methods of art history as the formal-stylistic and historical-culturological analysis. The scientific novelty of this work is defined by the fact that the Victorian country estate is viewed not only as a certain phenomenon in the history of architecture, but primarily, as the phenomenon that allows shedding light upon the peculiarities of Victorian mentality. The conducted research demonstrates how such mentality finds its manifestation in the architecture of British country mansion of this era.   
Galyamov A.A., Ershov M.F. - M. A. Tebetev: sociocultural origins of painting of the Khanty artist pp. 104-111

DOI:
10.25136/2409-8744.2020.5.32286

Abstract: The subject of this research is the works of the unique Khanty artist Mitrofan Alekseevich Tebetev (1924-2011), viewed from the perspective of its sociocultural origins. The artistic path of the artist took place at the intersection of two intertwined cultures: patriarchal culture of the Ob Ugrians and the culture of Soviet official circles. M. A. Tebetev quite organically infused both cultures. It may seem that his visual art is characterized by propensity for the naive style. However, such assessment in many ways devaluates analysis of the content of artist's paintings. Therefore, certain alienation from the excessive narrow-focus art discourse can propel the analysis of his works to a different, general cultural level. The crucial role in this research is played by the works of such theoreticians as P. Tillich, Dvořák, A. Hauser, and V. N. Prokofiev, which outlined the theoretical and methodological framework for this article. The sources for this research became the works of M. A. Tebetev, exhibition catalogues, and reproductions of his paintings, as well as writings dedicated to his works. The main conclusion consists in the thesis that the works Of M. A. Tebetev feature the attributes of visual historical-ethnographic sources. The evolution of Russian painting from photographic accuracy towards latent iconographic simplicity and open archetypical paganism reflects profound changes in the worldview of the late XX – early XXI centuries.
Kolpetskaya O.Y., Spiridonova N.S. - Restoration spectacle of Léonide Massine Ottorino Respighi The Magic Toyshop on the music by Gioachino Rossini pp. 105-112

DOI:
10.25136/2409-8744.2019.5.31031

Abstract: This article is dedicated to the history of creation of the ballet “The Magic Toyshop” (Boutique Fantasque), premiered in London in 1919. The representatives of various types of arts – Léonide Massine, Ottorino Respighi, André Derain worked on this spectacle. Such remarkable team was arranged upon the initiative and organizational talent of the prominent Russian impresario Sergei Diaghilev. The idea to revive the Joseph Bayer’s ballet the “Fairy Doll”, but in a different chorographical and musical interpretation. The musical content for the ballet is based on the piano pieces by G. Rossini from the compilation “Sins of Old Age” (Péchés de Vieillesse), orchestrated by O. Respighi.  The topic under consideration provides an opportunity for target study of such artistic phenomenon as the “restoration” spectacle (O. Brezgin), which is relevant due to interdisciplinary scientific research. Methodological foundation contains the works of the national and foreign scholars and ballet theatre experts, which directly or indirectly pertain to the topic of this research.
Gryzunova A. - Portraits of the representatives of Vorontsov family painted by Sir Thomas Lawrence pp. 132-140

DOI:
10.25136/2409-8744.2020.1.30688

Abstract: The subject of this article is the portraits of the members of Vorontsov family – a Russian family of diplomats inseparably connected with Great Britain and Russia. These works were painted by the British artist Sir Thomas Lawrence (1769-1830) in the early XIX century, featuring the portraits of S. R. Vorontsov (in 1805-1806), Y. S. Pembroke (in 1808), M. S. Vorontsov and graphic painting of E. K. Vorontsova (in 1821). The method of research consists in a detailed comprehensive examination of the depiction of the members of Vorontsov family. Main emphasis is made on the comparative analysis of reminiscences of the contemporaries on the model and artistic style of T. Lawrence’s works. The scientific novelty consists in viewing these portraits from one of the perspective of Russian-British artistic ties of the early XIX century – the connection between Lawrence and Russia, and broadening of catalogue descriptions with new records. The comparison of graphic and painting works of T. Lawrence with written reminiscences on the presented models proves that portraits of his authorship minutely reflect the inner world of the models and the impression they created on their contemporaries.
Piryazeva E.N. - Trautonium: peculiarities of compositions for the electronic musical instrument pp. 141-148

DOI:
10.25136/2409-8744.2020.1.32243

Abstract: The subject of this research is the electronic musical instrument trautonium and characteristic features of compositions written for this instrument. The advancement of electronic music and its instruments is substantiated by innovative transformation, constant emergence of new devices, their improvement and phasing out or transitions into a new generation of devices. One of such electronic musical instruments is trautonium, invented in the first half of the XX century. It did not gain much popularity, but gather its own repertoire and library of video and audio recordings. In the course of this research, the author applied the following methods: historical and systemic approaches; methods of integral, structural, stylistic, and comparative analysis. The novelty is defined consists in the subject of research, range of compositions attracted for musicological analysis, and the angle of their view. The author determines the common to compositions for trautonium concert character of performance reflected in the set of aesthetic and technological principles on various levels of musical composition.
Nerovnaia T.E. - Modern piano duet: a retrospective analysis of performing arts pp. 141-150

DOI:
10.25136/2409-8744.2020.4.33379

Abstract: The subject of this research is the evolution of the art of piano duets since the middle of the XX century to the present day. Leaning on the retrospective analysis of ensemble uniqueness, an attempt is made to determine the key trends in artistic activity of piano duets of that time. The goal of this work consists in the analysis of the types of professional duet ensembles and their peculiarities, substantiated by the mobile form of concerts; study of the relevant questions of renewal of the repertoire; classification of piano duets by “performing specialization”: educational and theatricalized or "eccentric"’ as well as outlining the development prospects of duet performing arts. Research methodology is based on the comparative, logical, and retrospective methods. The retrospective method allowed defining the criteria for ensemble specialization of piano duets in accordance with the duet or duo principle, as well as the variety of educational duets based on the repertoire preferences. The scientific novelty lies in the fact that retrospective analysis applicable to modern duet performance, on the one hand revealed a tendency towards preserving and augmenting best traditions in performing culture of the piano due, while on the other – towards seeking of new, creative in their idea forms of ensemble art. For the first time the source of the new repertoire, which includes original compositions for four-handed ensemble, is presented by annotated catalogue of the American scholar K. McGraw (revised 2016 edition). The conclusion is made that tremendous potential of the genre (the ability to multi-level dialogue, theatrical expressiveness of visual image of the ensemble, and its special telegenic skills) contributes to the successful development of piano duet in music industry. Expanding the boundaries of the traditional concert space, members of the ensemble appose to the aesthetics of show or performance, which testifies to the experimental nature of piano duets in the first decades of the XXI century. As the development prospects, the author outlines the pursuit of new ways for popularization of the genre, research work on broadening the existing duet repertoire, and as well as potential creation of the Internet platform for centralizing the global repertoire of piano ensembles.
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