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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.
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.   
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