Что такое хорошо: Идеология и искусство в раннесоветской детской книге
In Soviet Russia, during the 1920s—early 1930s dozens of publishing houses published children's literature richly (sometimes lavishly) illustrated by the best (yet sometimes the worst) artists of the epoch. They epitomized the real revolution in the art of the picture-book and, at the same time, the revolution in the message that had been conveyed in these books. In other words, the children's books of the early Soviet era embodied the twofold revolution: in aesthetics and in spirit. This book is the study of this revolutionary phenomenon: how early Soviet authors, artists, and book designers used innovative artistic concepts in the production of books intended for children and thus served the ruling authorities in forging the new citizens of the Communist state by means of the subtle art of indoctrination.
A story of an artist's evolution can be understood in terms of mediation between the world of empiric reality and the artist's own world. The case of Shuriga once again returns us to a problem of artistic imagination, be it pre-revolutionary Russia or Soviet State either.
The book consists of articles of Japanese and Russian researches devoted to humanities.
This article investigates the meaning of the title and sur-heading of Hokusai Manga (subsequently in this text – HM) and provides a detailed analysis of the term manga which is difficult to understand and translate. In doing so, it puts HM into the context of the early modern Japanese picture-books and offers an attempt to classify its genre.
"Hokusai manga" occupies a special place in the artistic heritage of Katsushika Hokusai. In its 15 volumes with ca. four thousand of figures and subjects, Hokusai created an encyclopedia of old Japan in pictures. This articles investigates the beginnings of the manga genre and pays a special attention for the interpretation of the enigmatic words "denshin kaishu" in its title. A problem of collaboration of Hokusai with other artists is discussed as well as the forms of his personal output.
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
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.
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.