Ян Нейман. Неизвестные работы \Yan Neiman. Unknown Works.
The public is well acquainted with Jan Neiman’s monumental sculpture, his monuments are featured in all comprehensive reference works and guidebooks to art in St Petersburg. However, his smaller scale sculptural works and drawings are yet to be introduced to a wider audience. The catalogue contains a large number of illustrations, factual information and data. For the first time a detailed description of the artist's evolution and development of his style have been published.
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.
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.
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 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.