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Sztuka Europy Wschodniej • Искусство Восточной Европы • Art of the East Europe
“Andrei Remnev” is almost a perfect rhyme for “Andrei Rublev”. It is not an attempt to praise or to joke. Such an association arose in my mind when I got myself thinking about Remnev’s carnation – he is a rare contemporary artist, who possesses it. He has his own and style-forming carnation like Rublev had, which was often called “facial depiction” in relation to the art of iconography.
Carnation is a manner of painting faces, hands, and flesh in general by mixing paint in such a way that it sets the coloring tone, combining the picture in warm or cold color range and bold and tender velvet or impervious-porcelain tones. It is associated with glazing, but it’s more than just glazing. Admittedly, nowadays there are very few artists who trouble themselves with that, whereas Remnev possesses the technique and loves it. A carnation of one’s own is when facial depiction becomes personal and gives away the hand of the master before one sees the signature or the plot with the composition. Сarnation in the faces by Remnev, with its combination of the coldish pink dawn of the midnight countries and Cimabue or Duccio’s olive-greenish, evokes a feeling of ethereal purity, as it was with the artists of the Duecento or Trecento. In this regard, Remnev appears as a pre-Raphaelite and a much more pre-Raphaelite than Rossetti and his circle with their sensuous images that have far surpassed in their fleshiness Fornarina – Raphael’s stoutish baker’s wife.
Quite often we can see how manga plays with different famous images, borrowed from cinema, painting, sculpture, etc. Such principles follows Japanese artist Maruo Suehiro (born in 1956) is a representative of the so-called “alternative manga”, especially in his work The Strange Tale of Panorama Island – the manga adaptation of Edogawa Ranpo’s novella of the same name. This manga, which is full of various symbols and quotations, show us the flight of fancy by the author and blurring boundaries between original and copy. Postmodern trends are characterized not only for this manga, but other works of Maruo Suehiro such as Laughing Vampire or Lunatic Lover’s, etc, and become his distinctive manner.
Studying of color palette in watercolor painting is being reported in the following article. To create an expressive image, out of the real world colors the artist chooses those that match his thoughts, feelings and artistic solution of a painting. Examples of tasks are being offered which help with the studying of color palette and auspiciously influence development of creative abilities, creative thinking of students, pupils and scholars.
In given article the master - a class of water colour painting is told about a technique of carrying out and the organisation. Application in work the master - classes on water colour painting does a lesson evident, bright, remembered, that positively influences aesthetic development of rising generation, imparts love to the fine arts, to water colour art.
Plein-air in additional education studio organization is being discussed in the article. As a part of estetic students' education, open-air represents drawing and painting outside in open-air. Purpose of open-air working is to fasten and broaden knowledge and experience received during academic year, to develop abilities of its creative application in open space natural illumination conditions. Different activities are being described: drawing (doodle, sketch, long-tirmed drawing) and painting (short-termed and long-termed etude).
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
The article is devoted to the formation of the image of the pre-revolutionary history of Russia on the example of Yuri Tarich's film Wings of Serf (1926). In the first post-revolutionary decade, there was a departure from previous standards in the image of national history. Authors searched for new forms of screen representations of past events. Although the film inherits the tradition of depicting the king as a murderer and tyrant, the creators – director Yuri Tarich and screenwriter Victor Shklovsky – tried to transfer on screen revolutionary understanding of history. The film is influenced
by historical theory of Mikhail Pokrovsky, and Shklovsky introduced the economic element in the scenario as the main engine of the plot.
The avant-garde figures who came to cinema (Shklovsky, first of all, was a literary critic) came up with the rules of screenwriting craft on the go and challenged the boundaries of cinema's possibilities in practice. The purpose of Wings of Serf’s screenplay was to move away from the one-sided image of Ivan the Terrible and determine his actions as of economic basis. Shklovsky and Tarich developed the idea of the revolutionary remaking of the image of the past in their next work, the film version of Captain's Daughter.
The article covers the history of foreign screenings of Wings of Serf, focusing on the history of censorship bans and re-editing of the film for USA. The author shows in the article the possible influence of Wings of Serf on Ivan the Terrible by Sergei Eisenstein, which is implicitly present in both artistic and plot terms.
Despite success and foreign distribution, the movie was visually traditional, realistic, and researchers considered, most often, as the prologue before radical change of the relation to Ivan the Terrible in the thirties. The article shows how filmmakers of the first decade after the revolution used to work with historical material.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.