Николай Никогосян. Уходящая классика. 100-летию мастера посвящается. Каталог выставки
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.
This article studies the role of phylosophy of symbolic phorms of E.Cassirer in the development of the methods of iconography school and Ghehtalt Psycology in Arts Studies. Particular role is dedicated to the problem of arts perseption through the pryzm of iconologic mathod in Ghestalt Psycology.
O. A. Zhukova, A. A. Kara-Murza and M. G. Talalay are well known as researchers in the Russian and Italian culture. New work, written in collaboration, is dedicated to Russian writers, philosophers, artists, travelers, who had visited the old Amalfi in southern Italy. The relics of St. Andrew the Apostle are a spiritual treasure of the city for over 800 years.The basis of historical and philosophical program of the book is studies of the intellectual biographies of prominent figures of Russian literature, philosophy and art of the nineteenth and twentieth century. They had inspired by the beauty of Amalfi, embodying it in his works.
As a digital artist’s tools, the following digital imaging technologies were considered in the article: creating abstract images using a neural network without an input image, base don’t he artist’s psycho-emotional state; creation of images using a neural network - a stylist, at the entrance of which there is a base image and a stylization file (artist’s picture, texture file, another image); technology of soft ware stylization of image processing and technology of fractal visualization. The developed technologies and the described algorithms can be useful for digital artists of such creative areas as: design, graphics, painting, architecture, cinema, VR, light installations.
This paper pertains mainly to art cognitonics, it is a significant branch of cognitonics, or the science about the human being in the digital world. The first aim of the paper is to consider a way of achieving cognitive engagement of the adolescents and university students at lectures on art cognitonics. The central idea is to expand the conceptual universe of the learners by means of messages conveyed by outstanding canvases and sculptures. Art cognitonics changes the perception of a work of art by the beholder in comparison with the traditional approach. The second aim is to state a new conception of a sci-fi museum (a science fiction museum), this conception is underpinned by cognitonics. The principal idea of the new conception is the creation of a thought-provoking space aiming at stimulating the process of perception of the power of thought, regarding thought as a value.
Textbook "Introduction to the basics of the art of ancient Greece" helps to form the main idea of the periods and stylistic features of ancient Greek art, show and explain the most important laws of artistic processes in the culture of ancient Greece, as well as to identify the relationship between the formal-shaped structure of the work and the priority value orientations created its culture. A summary of the main stages of Ancient Greek art is accompanied by a representative of extortion illustrations (more than 1900 images), allowing you to acquaint the reader with the paramount ideas about the historical development of the art of ancient Greece, to identify the stylistic features of the main types of ancient Greek art, as well as to reveal and explain the most important laws of artistic processes in culture of ancient Greece. The purpose of this guide - to teach students to work with information, primarily visual, to help develop the ability to determine the stylistic features of each of the sites studied stages of ancient Greek art. The manual is intended for students - art historians, students of the history and culture of the ancient world and a wide range of readers
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 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.