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1
Boyko, Olga A. "ARCHETYPE OF « SHADOW» IN THE ART OF XX CENTURY." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 23(3) (September 1, 2016): 15–23. http://dx.doi.org/10.17223/22220836/23/2.
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He, Xing. "Chinoiserie in Russian culture before XX century." World of Russian-speaking countries 4, no. 10 (2021): 127–41. http://dx.doi.org/10.20323/2658-7866-2021-4-10-127-141.
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The article deals with the content and meaning of the Chinoiserie art style, which appeared in Europe in the 17th century and is based on traditional Chinese culture. It has distinct Chinese features and reflects a lot of Chinese elements. Chinoiserie still has a great influence on world culture in various spheres of art. The main focus is on the formation and spread of chinoiserie in Russia, which was related to the beginning of the Enlightenment era, the development of Chinese-Russian trade, and the published works on sinology that appeared at that time. In addition, the geographical proximity of the two countries is also considered a major factor in the spread of chinoiserie in Russia. There are several stages in the existence and evolution of chinoiserie in Russia: the era of Emperor Peter the Great (18th century), when elements of Chinese architecture, sculpture, art, clothing, decor and ornaments, household items and utensils appeared. At the same time there also appeared imitations of Russian masters of Chinese decorative and applied arts. During this period of time, ordinary people are also introduced to Chinese items and products, such as cotton cloth, silk, porcelain, tea, rhubarb, etc., which are now an integral part of life in Russia. The next era of introducing Chinese culture is the 19th century. It is connected with the spread of international relations and political ties. But chinoiserie evolution at this time was no longer as rapid and multifaceted as it had been a century earlier. The author concludes that chinoiserie reached its peak in Russia in the XVIII century, gradually began to decline in the XIX century, but in the XX century and nowadays it is becoming popular again.
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Sherbayevna, Shukurova Lobar. "Bukhara Applied Art In Middle Of XVIII - Early XX Century, During The Mangit Dynasty." American Journal of Applied sciences 02, no. 12 (December 31, 2020): 156–59. http://dx.doi.org/10.37547/tajas/volume02issue12-24.
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In the article stressed about some features of Bukhara's applied art in the middle of the 18th - early 20th centuries. Art historians and historians have cited the scientific views of some scholars on the development of folk applied art in these periods.
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Demchenko, Aleksandr Ivanovich. "The Russian Musical Art of the Early XX Century: FOLC." Manuskript, no. 11 (October 2021): 2231–37. http://dx.doi.org/10.30853/mns210409.
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Demchenko, Aleksandr Ivanovich. "The Russian Musical Art of the Early XX Century: Preamble." Manuskript, no. 9 (March 2021): 1757–59. http://dx.doi.org/10.30853/mns210341.
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Demchenko, Aleksandr Ivanovich. "The Russian Musical Art of the Early XX Century: Poles." Manuskript, no. 10 (March 2021): 2003–12. http://dx.doi.org/10.30853/mns210393.
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Demchenko, Aleksandr Ivanovich. "The Russian Musical Art of the Early XX Century: Paganism." Manuskript, no. 2 (February 2022): 58–66. http://dx.doi.org/10.30853/mns20230008.
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Udris, I. "THE CONCEPT OF THE HISTORY OF ANCIENT UKRAINIAN ART IN THE CONTEXT OF DEVELOPMENT ARCHAEOLOGICAL SCIENCE LATE XIX - EARLY XX CENTURY." Educational Dimension 13 (May 26, 2022): 242–54. http://dx.doi.org/10.31812/educdim.5771.
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Becoming of conception of history of ancient Kiev's art in the context of elaboration of archaeological science at end of the XIX and beginning of the XX century. In the article is explained the problem of becoming of scientific conception of history of domestic art. The publications are examined on the indicated problem of leading specialists of that epoch in Labours o f archaeological conventions at end of the XIX and beginning of the XX century as an information base for explaining of historiogyraphy questions in researches of different aspects of history o f the Ukrainian art.
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Pylypchuk, V. V. "BANDURA ART OF THE EARLY XX CENTURY AND ITS FEATURES." Innovate Pedagogy 2, no. 43 (2022): 85–88. http://dx.doi.org/10.32843/2663-6085/2022/43/2.17.
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Ковальова, М. М., and Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ." Art and Design, no. 3 (November 13, 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.
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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.
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Dyadyk, Natalia. "Art of the second half of XX — early XXI centuries as visual philosophy." Socium i vlast 4 (2021): 95–106. http://dx.doi.org/10.22394/1996-0522-2021-1-95-106.
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Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of the 21st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kossuth, the movement of “new realists” and photorealists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philosophical analysis of visual art of the second half of the 20th — early 21st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following general scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard contemporary art as a visual philosophy. Philosophizing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp being. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20th century — early 21st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and being in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.
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Meng, Hao. "The Development of Still-life Painting in China in the Second Half of the Twentieth Century Under the Influence of Russian-Soviet and Western Art." Философия и культура, no. 9 (September 2022): 121–32. http://dx.doi.org/10.7256/2454-0757.2022.9.38692.
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Still life as an independent painting genre in Chinese fine art was formed in the second half of the XX century under the strong influence, first of all, of Western European and Russian, and then American art. This relatively short period of time includes several periods at once, in which one or another influence dominated. However, it was the integration of the ideas and principles of foreign art schools that allowed Chinese masters to develop those features of the artistic and figurative language that determined the features of the genre of still life in the space of modern art. The object of the article is the process of development of Chinese still life in the second half of the twentieth century, the subject is a set of expressive and artistic means used by Chinese artists to create a still life under the influence of foreign artistic trends. This article aims to determine the place and features of the genre of still life in the works of Chinese painters of the second half of the XX century, as well as to characterize the conformity of this genre to the trends of Russian and Soviet, as well as European art. The study concluded that this genre received rapid development in the second half of the XX century, which occurred under continuous foreign artistic influence. The occupation of a strong position in the space of Chinese art by still life and the formation of its original character with national specifics occurred at the end of the twentieth century.
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Kyselova, Kateryna. "Quotation of works and using artistic techniques of representatives of the artistic direction of pop art in clothing design of the late XX - early XXI century." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 10–15. http://dx.doi.org/10.32461/2226-2180.39.2021.238673.
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The purpose of the article is to develop the issues of quoting the art direction of pop art and the use of artistic techniques of its representatives in the design of clothing of the late XX - early XXI centuries. Visual material covering the history of fashion of the end of the XX - beginning of the XXI century taken from printed publications and the Internet. Methodology. Methods of literary, socio-cultural, art history, aesthetic, and structural-compositional analyzes were used. The scientific novelty of the work lies in identifying the main stages and specifics of quoting pop art in clothing design of the late XX - early XXI century. Brands and designers who turned to the motives of this art direction from 1960 to 2010 were considered. Conclusions. It is determined that the iconography of pop art in clothing design includes the following: portraits of celebrities; reproductions of famous paintings, banners and posters; covers and pages of newspapers and magazines, comics; images of letters, words, slogans and logos; different types of packaging; home appliances; plumbing; electrical appliances; means of transport; food; tobacco products and alcoholic beverages. It was found that the techniques typical of pop art, such as a combination of illusory and real, hyperbolization of objects or their individual properties, duplication of images, mixing bright contrasting colors and multi-context images, introducing quotes, and using collages of photographs were fully adapted to clothing design in the twentieth century. Since the eighties of the twentieth century. The parody approach to creativity characteristic of pop art is spreading. In the XXI century. designers focused on "combining the incompatible." Pop-art ideas for decorating things with a simple cut with various slogans and of everyday and commonly available motifs, as well as imitation materials, have become the most widespread for ready-made clothes.
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Shabalina, N. "KASLI ART CASTINGS IN THE IMAGE OF ENVIRONMENTAL ARCHITECTURAL OBJECT." Bulletin of South Ural State University series "Construction Engineering and Architecture" 16, no. 3 (2016): 12–17. http://dx.doi.org/10.14529/build160302.
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In the XX century architectural and artistic traditions casting continued to evolve and be enriched with new developments designs and models. The experience of the monumental decorative art in the urban environment fruitful and worthy of study and creative thinking. The author refers to the experience of architectural and construction activity in Chelyabinsk 70-80-ies of XX century – the objects of public civil buildings in which decorative components were important compositional and figurative meaning. Combinations of the various modules of artistic casting allowed designers to create images of the original decorative compositions architectural and environmental objects, as their distinctive markers.
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Mamasolievich, Mirabdullaev Makhammadali. "LYRIC SINGING IN UZBEKISTAN IN THE SECOND HALF OF THE XX CENTURY." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 03, no. 03 (March 1, 2022): 83–88. http://dx.doi.org/10.37547/pedagogics-crjp-03-03-15.
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This article describes in detail the art of lyrical singing in Uzbekistan in the second half of the twentieth century, the formation and development of teacher-student traditions, trends in Uzbek singing and their similarities and differences.
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Gauzer, Irina V. "CODE OF SPANISH PAINTING IN RUSSIAN CULTURE (BASED ON THE RUSSIAN FICTION OF THE XIX - EARLY XX CENTURIES)." Interexpo GEO-Siberia 5 (July 8, 2020): 3–10. http://dx.doi.org/10.33764/2618-981x-2020-5-3-10.
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The paper deals with reception of the Spanish pictural images presented in the Russian fiction of the XIX - early XX centuries. The material of the study are works by I.A. Goncharov, A.F. Pisemsky, N.S. Leskov, N.D. Khvoshchinskaya, N.A. Leykin, L.N. Andreev, A.T. Averchenko. The analysis results show that the theme of the Spanish painting in the Russian fiction is focused on images of two painters - Bartolome Murillo and Diego Velazquez. What is more, with time there is a shift of contexts in which the writers put the images of the Spanish painters and their masterpieces. If in the middle of the XIX century these images are markers of the high art sphere that connect the Russian space with the latter, in the early XX century they represent gaps between elite classic art and mass culture of the epoch fin de siècle.
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Frfulanović-Šomođi, Dragana, and Milena Savić. "GUSTAV KLIMT’S CREATIVITY AND ITS IMPACT ON XX CENTURY FASHION." Knowledge International Journal 34, no. 3 (October 4, 2019): 759–65. http://dx.doi.org/10.35120/kij3403759f.
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Secessionism from the beginning of the XX century offered a new option for the creation and interpretation of art through a unique individual expression of the artist that was the result of the coming changes in society. Gustav Klimt, one of the most striking representatives of Viennese secessionism, with his lifestyle and style of creation through combining techniques, has made changes in art, not always accepted in every segment, but with long-term consequences for the development of art and fashion. In a fashion sense, Klimt presented not only a new artistic expression but also paved the way of a modern contemporary woman. He was breaking social frames and norms, which was a link to the emerging fashion of the new age inevitably. The work was created with the idea of a brief overview and analysis of Gustav Klimt's creative work with elements of influence on the development of novelties in the design of clothing from the beginning, but also in the last decades during the XX century, from clothing, textile design to fashion accessories. Essential elements such as decorative ornaments and their combination through a combination of cold and warm colors enriched with gold tones have become authentic motifs imbued with the warmth of floral form and the mystique of geometrization.
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Ivanova, Eva-Maria. "Carol Rama and the Pleasure of Image." Sledva : Journal for University Culture, no. 41 (August 20, 2020): 90–99. http://dx.doi.org/10.33919/sledva.20.41.13.
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Carol Rama is one of the most provocative artists of the XX and XXI centuries. Although in different periods her work has been associated with some of the significant artistic movements of the XX century, such as surrealism, art brut, arte povera, she does not join any of the leading trends and artistic groups. This makes her work a challenge to the history of contemporary art.
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Mačiulis, Algimantas M. "IRACIONALUMO APRAIŠKOS XX A. UŽSIENIO IR LIETUVOS ARCHITEKTŪROJE." JOURNAL OF ARCHITECTURE AND URBANISM 34, no. 3 (September 30, 2010): 151–60. http://dx.doi.org/10.3846/tpa.2010.15.
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The paper analyses irrationality as an expression of modern architecture, overviews the concept of irrational architecture. Various art and philosophical trends, that influenced the development of architecture in the 20th century, are analysed. Influences of global and Lithuanian analogues of irrational architecture on the development of architectural styles are presented. Since the concept of irrational architecture hasn’t been widely analysed, the paper suggests several approaches of analysis of irrational forms in architecture. The author arrives at the following conclusions: – Irrationality is an opposite expression of rationality, pragmatism, posityvism, technicist morphology. It’s based on deconstruction, indetermination, roughness, dramatic expression, etc. – The effect of irrationality can be obtained by two ways: using decorations, ornaments, polichromy, and using deformations of forms and constructions. – Irrational trends in architecture are caused by several factors. Philosophical trends such as reliatyvism, irrationalism, intuityvism, psychoanalysis, deconstructyvism, and art trends such as cubism, symbolism, expressionism, art deco, surrealism, etc. – Irrational trends in global and Lithuanian architecture of the 20th century can be noticed in art nouveau, art deco, organic, late modern, postmodern, deconstructyvist architectural styles. Santrauka Straipsnyje analizuojamas iracionalumas kaip šiuolaikinės architektūros meninės išraiškos forma, aptariama iracionalumo sąvoka architektūros mene. Taip pat charakterizuojamos sociokultūrinės prielaidos, filosofinės, meno srovės, dariusios įtaką iracionalumo požymiams architektūroje. Nagrinėjami pasauliniai ir Lietuvos iracionaliosios architektūros analogai, apžvelgiamos iracionalumo apraiškos stilistinėje architektūros raidoje.
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TSAGARELI, Tamar. "Problems of Th eatrical art in the XXI century." Arta 31, no. 2 (January 2023): 84–86. http://dx.doi.org/10.52603/arta.2022.31-2.12.
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From the last decades of the XX century to the present, the overall processes of integration have a total character in all spheres of human activity. In general, the cosmic quickness of development of technologies and especially information technologies have long removed the borders between different countries and civilizations. This triumphal move of globalization on our planet is a quite difficult process full of resistances. Its ongoing process is far ahead of comprehensive deliberation and assessing of possible positive and negative consequences raised by this occurrence. Despite the fact that historically globalization is a fully natural process, which certainly has not started only in the last decades of the XX century; some people consider the renaissance epoch as its beginning. There are people who think that this process originates from ancient times alongside with the development of mankind’s traditional cultures. However, subsequently in later history, it goes beyond the traditional boundaries of culture and often plays a destructive role towards it. During the discussions around globalization, there often appear catastrophic and apocalyptic visions. On the one side are those who consider globalization as historically inevitable and a progressive comprehensive occasion, while others emphasize the dangerous nature of this occasion for distinctiveness and development of different cultures and civilizations.
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Udris, I. M. "Ukrainian folk art as a subject of study by domestic science about the art of the early xx century." Educational Dimension 26 (December 14, 2009): 351–60. http://dx.doi.org/10.31812/educdim.7043.
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On the grounds of the analysis of Ukrainian scientists ‘ works of the beginning of the XX century the process of formation of our country ethnodesign theory & history conception is retraced. Special attention is paid to the problem of Ukrainian folk art national forms definition.
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Юматова and T. Yumatova. "Basic Concepts of Modern Representational Drawing School." Socio-Humanitarian Research and Technology 2, no. 4 (December 3, 2013): 19–21. http://dx.doi.org/10.12737/2116.
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The basic concepts of the modern higher school of graphic drawing for a
long time have been a central issue in the training of academic drawing. This article
discusses two lines: Russian and Western European art pedagogy of the turn of XIX–
XX century. A number of common features can be noted, which are peculiar for these
artists. Proclaiming the nature as the basis of art — Ažbe, Hollósy and Chistyakov,
sought to develop scientific, analytical method of the form image. They set the task to
use in their methods and achievements of contemporary art the main directions of the
XX century, as cubism, constructivism, etc.
And although everyone solved this problem in its own way, their analytical focus on
revealing the laws of art in nature was general.
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Symotiuk, Nazar. "Historical aspect of the development of op-art late XX – beginning of XXI century." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 288–300. http://dx.doi.org/10.37131/2524-0943-2019-39-20.
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Background. Analyzing the recent publications one can observe that scientists are quite interested in optical art. The issues of op-art in the Ukrainian art have been investigated by V.Kosiv, N.Diadiukh-Bohatko and L.Andrushko, I.Kuznetsova and O.Arbuzova, S.Bodnarenko and V.Nekrasa. The research of foreign scientists, where the authors argue that studies in fine arts can bring important conclusions about the visual system, is of importance in the development of this topic.Therefore, analyzing the processes of the development of traditional and modern artistic forms, it can be stated that op-art both in the Ukrainian cultural environment and in general, continues to exist, but in somewhat modified form. Goals. The purpose of this article is to review key ideas, author's models and preconditions for the development of op-art in XX - beginning of XXI centuries. The objective of the proposed publication is the widest representation of op-art in various spheres and directions of the modern artistic process, as well as to reveal the potential opportunities for the creation of a new visual art. Methods. In the course of this work, generalization and idealization were taken for the main methods. Basic methods such as abstraction, analogy, modeling and hypothetical approach were also used in this study. Results. The article reviews the origins and formation of optical art. The psychophysical influence of optical illusions on the recipient has been considered. The key concepts of op-art development and their influence on the development of contemporary art in general have been outlined. The emergence and significance of anonymous groups in Western Europe that explore a wide range of kinetic art and optical effects using various types of artificial light and mechanical motion has been explored. The influence of technological progress on the formation of optical techniques in art has been determined, as well as their specificity and transformation into various areas of the artistic process. The role of synthesis of op-art and kinetic art in creating a wide range of visual effects has been traced. Possibilities of application of optical illusions in various aspects of cultural and artistic process have been revealed. The history of the creation of anonymous groups and their influence on the stylistic peculiarities of the art has been studied. The article demonstrates the significance of volumetric - spatial structures in the modern globalized world and their convergence with the forms of massive spectacles and attractions using optical techniques. At the same time, the importance of further research of the little-known phenomenon of optical art in Ukraine has been emphasized. Conclusions. Summing up the influence and historical aspects of the development of op-art, one can confidently state that there is no clear answer and criteria for designating a direction to specific frames, since there are many different factors, each of which makes some modifications to optical illusions. This is not just about the visual component, but also about an ideology that collectively expands the field for experiments. Thus, one can state that the present theoretical research about the emergence of op-art and its significance in the modern globalized world’s art demonstrates the existence of various conceptual approaches and reveals new vectors of representing the art of the third millennium. Therefore, it should be noted that artistic modifications that occur under the influence of modern technologies require more attention and deeper investigation of the poorly-studied phenomenon of the optical art in Ukraine.
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Echeverría, Bolívar. "De la academia a la bohemia y más allá." Theoría. Revista del Colegio de Filosofía, no. 19 (July 1, 2009): 49–62. http://dx.doi.org/10.22201/ffyl.16656415p.2009.19.354.
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Avant-garde art introduces a technical revolution in the art form. What is it the meaning of this revolution? In view of the dispersion of the interpretations, Echeverría proposes we look for the key to interpreting in the ludic and tragic representations of the art in XX century
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Ognieva, T. K. "ARTISTIC AND FIGURATIVE STATEMENTS IN UKRAINIAN SCENOGRAPHY OF THE XX CENTURY." UKRAINIAN CULTURAL STUDIES, no. 2(9) (2021): 67–83. http://dx.doi.org/10.17721/ucs.2021.2(9).13.
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The article "Artistic and figurative statements in the Ukrainian scenography of the XX century" analyzes the conditions and factors of develop- ment of the art of theater and scenography as a component during the XX century in Ukraine. The scenographic space provides an opportunity to synthesize elements of plastic arts to create an artistic and figurative solution and to form the emotional climate of a theatrical performance. During the development of the art of theater, an evolution of the scenography took place. The level of scenography in Ukraine in the 1920s and 1930s not only corresponded to the standards of the world art, but also exceeded its value orientations, provided the key to understanding artistic searches and discoveries on a global scale. Ukrainian scenographers offered independent artistic and figurative solutions of performances. In the scenography of the 1920s, O. Khvostenko-Khvostov used various means of design of space – construction, painting, fabrics, mobile machine, banner, film projection, light, photomontage, etc. A. Petritskyi even managed to give constructivism diversity and emotionality, perfectly synthesize the spatio-temporal characteristics of theatrical art, forming an artistic and figurative solution of the play. W. Meller's work in the 20s-30s of the XXth century is also an example of artistic figurative stage design of the play and the most fruitful inter- pretation of European innovative trends on the basis of Ukrainian theatrical art. The "social realism" style approved by the influenced the develop- ment of Ukrainian culture; in theatrical art and, in particular, scenography, we observe a gradual departure from the artistic and figurative organiza- tion of the stage towards realistic reproduction of the place of action. Thus, the legacy of V. Meller, A. Petritskyi and O. Khvostenko-Khvostov before and after World War II is not distinguished by innovative, ex- traordinary stage solutions, which is explained by objective reasons. D. Borovskyi was one of the first scenographers of the post – war period who demonstrated artistic and figurative interpretation of dramatic material in Ukraine. Myron Kyprian has a special place among the artists of the stage, whose creative work of the 60s – 70s of the XX century abounds in artistic and figurative solutions of performances. We emphasize that the Ukrainian scenography in the 50's – 60's generally corresponded to the basic principles of the style of socialist realism. Most artists of the stage used standard techniques, but there were also artistic and figurative scenographic solutions that stood out from the general usual practice. The process of liberation of art in general and theatrical in particular has shifted and is constantly evolving towards getting rid of the dictates of worldview principles and aesthetic systems that determined the ways of development of art in previous years. The solution of the problems of visu- alization of the artistic and figurative organization of the stage space is the principle of universalism of the stage environment, plastic embodiment of ideas. At the end of the XXth century artists turned to a variety of artistic techniques in an effort to embody the symbolic subtext and philosophi- cal content of the dramatic material by enriching the palette of expressive and technical means. The scenography system combines various ele- ments, visual and plastic characteristics of materials to metaphorize the action. The large-scale, monumental plastic embodiment of the main idea of the artist – scenographer coexists with the empty space of the stage. At the end of the twentieth century we observe the mutual enrichment and spiritual growth of artists – scenographers who form the artistic and figurative solution of the play and the audience, able to perceive and care about the metaphorical symbolic sphere of plastic – spatial coordinates of the play.
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Usanova, Alla. "Interior as an Art-aesthetic Concept in the Russian Art of the Early XX Century." Ideas and Ideals 2, no. 4 (December 24, 2014): 108–14. http://dx.doi.org/10.17212/2075-0862-2014-4.2-108-114.
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Kohut, Volodymyr. "Video art of Lviv, late XX - early XXI century, historical context: creating an art form." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 317–33. http://dx.doi.org/10.37131/2524-0943-2019-39-22.
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Background. For the last 25 years videoart in Ukraine had passed a maturation from the elementary experimental video practices of the end of the 80's to the full-identical art form. Like most of the USSR innovative art trends, videoart in Ukraine paved it's way through the formal endorsement's resistance and had been creating owing to the enthusiasm and persistence of individual artists and single artistic formations. Ukrainian videoart had developed according to all the fine art growth's features of socialistic period; however was established and concepted for the first time in Lviv as a phenomenon in the 1990-s what had generated a brand-new pleiad of cultural actors and had influence on the alternative artistic expression mediums of that time. Objectives. The incipience and developnent of Lviv videoart appears to be the main goal, applicating specifics of the new media style in individual artistic identification for single artists and Lviv artistic enviroment in general; reconstitution of the expression of new visual ideas made via video camera among social and historical “perestroika” context. Videoart role definition in the artistic expression of the totalitarian unrest period. Methods. Achieving the goals of the article was implemented via empirical methods: comparison, observation, description of the historical facts, which preceded videoart foundation throughout Ukraine. Theoretical methods were founded for the analysis of videoart, it’s role and position in art studies historiography of Lviv focus. Also deductive chronology playbacking method, what gave an opportunity to represent a whole artistic climate where Lviv videoart was established. Classification method divided artistic formations into groups based on artistic and stylistic criterion. Results. The research results confirmed the idea of independent Lviv videoart existance with it’s own establishing and development history. Research, based on Andrij Boyarov artworks of the end of 80’s, showed up comprehensive data that videoart had not been positioned as additional medium for single artist’s creations diluting; combination of photo and video was and remains the main activity for a certain range of artists thus proving that emergence of videoart genre had not turned into spontaneous way or copied from West European processes but rather appeared to be totally required by socio-political environment, the artist and the viewer to see the video reflections in galleries. Formed chronology showed up a special linkages between the appearance of brand-new art experiments, alternative practices and youth movements, festivals and artistic formations that had established the very first Ukrainian galleries and had placed curator practices unprecedented neither for artists nor for viewers. These were the “Tsenter Europy”, “Try Krapky”, “Dzyga” galleries, where the exhibitions “Thing Theatre or thing ecology”, “Defloration” and “Congress of Ukrainian Physicians Exhibition” took place at the time of turning point of Ukraine’s 90’s. The “Vyvykh” Festival had become a so-called Vesuvius for massive Lviv non-conformism vector, which explored a number of brand-new names of experimental art and videoart: Alfred Maksymenko, Andrij Boyarov, Hanna Kuts, Viktor Dovhaljuk, Ihor Podolchak, Serhiy Petljuk and others. During the consideration it was revealed that Lviv videoart meant to be different from the one in the other Ukrainian videoart centers due to it “pedagogical” aspect, namely it was the only center, where the experience sharing for the young generation truly existed, that had been caused by reservation problem and communication absence between the videoartists and a range of author generations. The originator of the first videoart in Ukraine - Alfred Maksymenko - now works as a pedagogue at Lviv National Academy of Arts, whose Studies generated a number of videoartists, carring on Lviv Classic School traditions and creating original stylistic indications. Conclusions. This social-informational research has shown preconditions for a brand-new art genre establishment - the 90’s Lviv videoart and the fact that it was not born in a way of “playing” or “flirtation” with some kind of new imported technical equipment but had it’s own conceptual way instead; got an opportunity to continue previous visual practices and expand the frontiers of visual influences on viewer. The analysis of Lviv videoart formation concludes the research and brings up the subject for further researches: establishing of high-quality art analysis of single artists working in videoart for already more than 25 years. A totally special stylistic manner of creating video images had emerged during that time period, which echoes with traditional Lviv Classic School painting manner and brand-new mediums born and dictated by alternative angles and technical implementation of videoart.
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Mironova, Tatiana. "Metaphysics of postmodern figurative art in Ukrainian art of the late XX - early XXI century." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 37–42. http://dx.doi.org/10.32461/2226-2180.39.2021.238678.
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The purpose of the article is to study the artistic traditions and conceptual innovations in the works of Ukrainian artists of the XX-XXI centuries. In contemporary Ukrainian art, figurative language is produced simultaneously with the renewal of public consciousness and in certain aspects directly contributes to its formation. Figurative imagery using Ukrainian artists of this cultural period is not only the result solely of sensory experience, they also absorb the institutionalization of social experience that allows them to reflect different levels of reality. The methodology is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed us to study semiotic systems that contribute to the comprehensive disclosure of the problem of the semantics of modern forms of visualization. The integrative approach has enabled research in new forms of visualization of modern artistic language, which combines informational and aesthetic functions. Due to the revealed changes, traditional images are visualized with the help of a new artistic language, which does not correspond to the traditional meanings of the artistic image. The scientific novelty of the work lies in understanding the metaphysics of postmodern figurative art in contemporary Ukrainian art. A characteristic feature of the development of modern culture is the rapid social transformation, covering all areas of human activity. For the structure of art, the nature of which is due to constant change and renewal, the problem of the relationship between tradition and innovation is important. Thus, contemporary artists in their figurative, non-figurative and conceptual practices use the memory of artistic culture and artistic traditions as a mediator between the past and the present. Ukrainian art practitioners build a multiple and diverse artistic and image system based on the mechanism of interaction of traditions and innovations, involvement in the creative process of specific stylistic combinations of past and present, and reflection on cultural realities. Conclusions. Ukrainian culture is being revived in the following main directions: the process of self-consciousness and the formation of national historical memory has intensified, and the vector of development of social consciousness has been determined. Also, due to the weakening of totalitarian control, upgraded ideological and spiritual social norms. In the context of freer cultural development, artists use simple and clear images in various unusual contexts, often visualizing the determinants of the renewal of the collective consciousness. At the same time, the entry of domestic art into the world art arena meant the urgent need for rapid change in all spheres of art. This speed led to a number of complex problematic issues related to the difficult interaction of traditions and innovations, as well as folk and classical in contemporary art, determined the formation of a new series of images.
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Harutyunyan, M. "THE PROBLEM OF STUDYING OF THE APPLIED ART OF ARTSAKH OF THE 19TH CENTURY ON THE PAGES OF THE EASTERN ARMENIAN ERIODICAL PRESS." East European Scientific Journal 4, no. 10(74) (November 22, 2021): 4–7. http://dx.doi.org/10.31618/essa.2782-1994.2021.4.74.150.
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Thus, our scientific research led to the conclusion that the applied art which originated in the previous centuries continued to develop along with other branches of the culture of Artsakh in the second half of the XIX century and the beginning of the XX century.
In this scientific article, we have presented mainly the following branches of the applied arts of Artsakh: carpet weaving, handicrafts, embroidery, silversmithing, pottery. We have mainly presented interesting information about the branches of the applied art which were covered in the periodicals of the second half of the XIX century and the beginning of the XX century. Noting about the carpet weaving of Artsakh, we emphasized that the carpets of that region of Artsakh stood out with their color structure, richness of ornaments, technical mastery. We highlighted the role of handicrafts in the life of Armenian women, emphasizing that this form of the applied art was developed in Artsakh in the Middle Ages. In this article, we also presented a number of pottery samples found during excavations by foreign archaeologists.
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Abdurakhmonov, Ibrokhim Rakhimovich. "Reflection Of Folklore In Applied Art Of Uzbekistan (From The Beginning Of The XX Century To The 90s)." American Journal of Social Science and Education Innovations 03, no. 02 (February 27, 2021): 166–71. http://dx.doi.org/10.37547/tajssei/volume03issue02-26.
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The article scientifically generalizes the issues of reflection of folklore motives in the types of applied arts of Uzbekistan in the XX century. The most general considerations regarding the nature of the symbolic image of animals, birds, poultries, insects and underground creatures in the decor of household items are presented.
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Sofilkanych, M., and V. Kobal. "Historiography of development of Transcarpathian extracurricular art education in the XX century." Science and Education a New Dimension VIII(242), no. 42 (December 25, 2020): 52–55. http://dx.doi.org/10.31174/send-hs2020-242viii42-13.
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Sihuacollo, Luis. "El ejercicio del criterio. La recepción de la crítica de arte de José Martí en el siglo XX latinoamericano." Illapa Mana Tukukuq, no. 15 (February 7, 2019): 16–23. http://dx.doi.org/10.31381/illapa.v0i15.1838.
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Escritor, poeta, orador, catedrático, periodista, agente consular, estadista, crítico de arte y de literatura, José Martí (1853-1895) es al mismo tiempo el patriota que organizó las bases para la independencia de Cuba en las postrimerías del siglo XIX. Su crítica de arte, que él llamó “ejerciciodel criterio”, no fue examinada sino hasta mediados del siglo XX, pues el apremio por conferirle a Cuba una identidad nacional hizo que brillara por mucho únicamente su genio político. Juzgó la obra de artistas latinoamericanos, norteamericanos y europeos, y fue el primero en calificar como arte la producción espiritual de “nuestra América” antigua. Su visión de la realidad artística latinoamericana se articuló dentro de una concepción general que buscó reconfigurar el objeto de la estética reinante con la finalidad de incorporar en ella las creaciones de todos los pueblos del mundo. Las siguientes páginas, que forman parte de un trabajo mayor sobre el pensamiento estético de Martí, abordan brevemente la recepción de su crítica de arte en el siglo XX latinoamericano.Palabras clave: José Martí, crítica de arte, ejercicio del criterio, siglo XX latinoamericano.
AbstractWriter, poet, speaker, professor, journalist, consular agent, statesman, art and literature critic, José Martí (1853-1895) is at the same time the patriot who organized the basis for the independence of Cuba in the late nineteenth century. His art criticism, which he called "exercise of the criterion", was not examined until the mid-twentieth century, because the pressure to confer a national identity on Cuba made his political genius shine by far. He judged the work of Latin American, North American and European artists, and was the first to qualify as art the spiritual production of our “ancient America". His vision of the Latin American artistic reality was articulated within a general conception that sought to reconfigure the object of the prevailing aesthetic with the purpose of incorporating in it the creations of all the peoples of the world. The following pages, which are part of a larger work on Martí's aesthetic thinking, briefly address the reception of his art criticism in the Latin American XX century.
Keywords: José Martí, art critic, exercise of the criterion, Latin American XX century.
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Chegusova, Z. "A Publication That Opens the Universe of Ukrainian Art to the West." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (October 2021): 385–88. http://dx.doi.org/10.33625/visnik2021.02.385.
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Lozhkina, A. (2019). Permanentna revoliutsiia. Mystetstvo Ukrainy XX – pochatku XXI stolittia [Permanent Revolution. Art of Ukraine of the 20th – the Beginning of the 21st Century]. Kyiv: ArtHuss. [In Ukrainian].
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Matveeva, Alla, Roman Krasnov, Elena Atmanskykh, and Regina Zaynetdinova. "Analysis of philosophy and humanization art relationship in the first decade of the XX century." SHS Web of Conferences 72 (2019): 03050. http://dx.doi.org/10.1051/shsconf/20197203050.
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When writing the article, the authors pursued one goal: to understand why extreme subjectivity in art, the abandonment for centuries of setting traditions, laws and techniques in art led to the loss of aesthetic criteria by the modernism art, and what philosophical trends influenced this process. The methodological basis of the article is the principles of integrity, objectivity and historicism. The following methods were applied: historical and philosophical analysis, focused on the objective completeness of the study; cultural and comparative approaches aimed at establishing spiritual ties between artists of different historical eras. The article analyzes the works of philosophers and artists, such as: Bergson, Schopenhauer Nietzsche, Chirico, Apollinaire, Lenin, Bru, Kandinsky. Various directions of bourgeois art are considered. The authors believe that abstract art, fully antisocial and dehumanized, fully meets the aesthetic ideals of the modernism art, which opposed itself to human from its very birth. The authors argue that if you take the artists’ position of that time, you can make an unambiguous conclusion, the dehumanization of art could not be avoided. According to the authors, abstract art, fully antisocial and extremely dehumanized, is fully consistent with the goals of bourgeois ideologists and fully meets the aesthetic ideals of the art of modernism, which has opposed itself to man since its inception.
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Ермилова, Дарья, and Darya Ermilova. "Soviet constructivism as a creative design concept of the XX century." Servis Plus 11, no. 3 (September 19, 2017): 54–70. http://dx.doi.org/10.22412/1993-7768-11-3-7.
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The article is devoted to the theory and practice of Soviet constructivism as a creative concept in the design of the XX century in the context of the theory of "production art". Subject of research considers to be theoretical propositions, which were implemented in particular design methods and projects of industrial clothes and constructivist fabrics as an example of practical implementation of the ideas of constructivism. The aim of the study is the examination of constructivism as a creative concept in the design from the point of view of formation peculiarities of its theoretical bases and design methodologies. The hypothesis of the study is the constructivism, which arose under the influence of "industrial art" concept, among other things, suggested the active use of the graphical method of forming and methods of combinatorial programmed forming, which were due to the creative experience in the field of non-objective painting. The study uses the cultural studies approach, which considers design activity of constructivists in close connection with the realities of the era, a systematic approach that allows revealing the relationship of aesthetic theories with the concrete practice of design-design, art analysis in the description of projects of the constructivists. The article proves the influence of the theory of "industrial art" on the formation of the concept of constructivism, analyzes the origins and features of the method of constructivism, especially the graphics method of forming and methods of programmed forming. The article compares the concepts of constructivism with the trends of costume design of the XX century. There are identified the "weak points" of the concept and method of constructivism, which became one of the reasons for failing to fully implement projects in practice. For the first time there were identified the causes of failures in the design of the costume, not associated with ideological attitudes, and with the very creative method. The results of the study fill the insufficiently developed areas in the history of constructivism. Because the constructivism methods remain relevant for modern design, the results of the study can be applied in teaching of "Design" profes-sional disciplines.
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Steklova, Irina A., and Olesya I. Raguzhina. "SCULPTURE PARKS OF THE XX CENTURY LAST THIRD – THE XXI CENTURY BEGINNING: TYPOLOGY EXPERIENCE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 80–94. http://dx.doi.org/10.17223/22220836/41/7.
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The purpose of this article is to present sculpture parks at the modern stage of development, from the last third of the 20th century to our day. The relevance of this purpose is due to the relevance of these parks, which meets, firstly, on the challenges of culture, reproducing itself in the synthesis of landscape and monumental-decorative arts; secondly, on the demands of the population in artistically interpreted natural spaces; thirdly, on the life-building claims of modern art, which is looking for optimal ways of self-presentation. The representation of the sculpture parks is implied their systematization, which, in the course of the factual and visual material analysis, exhibits the most typical trends of formal and informative diversity and takes the form of a typology. To start building a typology, it was necessary to draw up a rather broad and spacious representative sample of objects and to select reference criteria in the trends of the manifold. Thus, a representative sample was made up of 90 Europe, Asia, Africa, Australia, and North and South America brightest objects, and following criteria were put forward: environmental involvement, authorship, the nature of specific forms and links between them. Typology showed that approximately two thirds of the sculpture parks are a product of the natural environment and one third of the architectural environment. In the natural environment, in authentic natural spaces, these are co-author full (independent and contextual) and special (by place, material, style, theme) formats, as well as mono-author formats. In an architectural environment, in integrated or interpreted natural spaces, these are, first of all, city formats that can be both co-authors and mono-authors: destinations, stops, transit zones. The implementation of the typology was facilitated by the attraction of a new material for the national art history. In the scientific circulation were introduced information about objects that were not mentioned before and unknown artists. Accounting for this information, along with known realities, allowed us to reach a higher understanding level of sculpture parks as a modern hypostasis of artistic synthesis.
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Ulanova, A. A. "FORMATION OF KYRGYZ BALLET ART IN THE 30-40S OF XX CENTURY." EurasianUnionScientists 6, no. 69 (2019): 4–9. http://dx.doi.org/10.31618/esu.2413-9335.2019.6.69.511.
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Hryhorieva, V. B., and S. I. Spodeniuk. "ARCHITECTURAL AND ART EDUCATION IN ODESA AT THE BEGINNING OF XX CENTURY." Regional problems of architecture and urban planning, no. 15 (December 24, 2021): 161–67. http://dx.doi.org/10.31650/2707-403x-2021-15-161-167.
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Cruz Fajardo, Yulli Marley. "Reconsideration of the historical events of 1985 Palace of Justice siege in Colombia." Культура и искусство, no. 1 (January 2022): 57–78. http://dx.doi.org/10.7256/2454-0625.2022.1.36775.
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The subject of this research is the theme of violence in Colombian art as a reflection of political and social conflicts in the country. Political, economic and social problems in the history of Colombia of the XX century are closely intertwined, resulting in a complicated situation of coups d’état and terror, which affects different types of art in the country and representatives of the cultural elite. The conflict that stretches since the early XX century is reflected in the Colombian architecture and painting. It is depicted as rather conservatism and alienation from the constituency in architecture, and from the critical perspective in painting. The projects of the Palace of Justice are taken as an example of the changes in architecture. Trends in the visual arts are revealed in the works of Beatriz Gonzalez and Doris Salcedo. One of the central events in the political and social history of Colombia of the XX century – 1985 Palace of Justice siege – has found a special place in their art. The novelty of this research lies in using the comparative method of analysis. This is the first Russian-language research to draw the parallel between the architectural changes in the projects of the Palace of Justice in Bogota and the impact of the events of November 6 and 7, 1985 upon Colombian painting based on the works of the two remarkable Colombian artists. It is established that different types of art show different response to the political and social disturbances that take place in the country. This is substantiated by differentiation of the political-social order in various types of art.
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Волкова, Ульяна Михайловна. "Moscow in the Russian medallic art." Искусство Евразии, no. 2(17) (June 27, 2020): 116–25. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.007.
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В статье рассматриваются медали, созданные в Российской империи в XVIII – начале XX века, с изображением города Москвы. В течение XVIII века была отчеканена всего одна медаль с таким изображением – на основание Московского университета. Все памятники XIX – начала XX века с изображением древней столицы можно разделить на три типа – это виды Кремля, различные сооружения и персонифицированный образ города. Персонификация Москвы – самый увлекательный медальный образ старой столицы. С этой аллегорией существует всего три медали. Первая персонификация Москвы была показана на медали, посвященной Отечественной войне 1812 года – «Освобождение Москвы», отчеканенной в 1834 году и принадлежащей к серии графа Ф.П. Толстого. Одеяние аллегорического персонажа соответствует русской моде начала XIX века и включает стилизованный сарафан и кокошник. На примере трех проанализированных медалей с изображением персонификаций Москвы автор прослеживает основные изменения, произошедшие в отечественном медальерном искусстве – от первых попыток включить элементы традиционной культуры в европейское по своей сути искусство до композиций, созданных на основе исторических источников и научных трудов. The article deals with the images of Moscow in the Russian medallic art of the 18th – beginning of the 20th century. Only one medal with the view of Moscow Kremlin was struck during 18th century. It was a medal dedicated to the inauguration of the Moscow University in 1754 by Helvetian medallieur Jacques-Antoine Dassier. During 19th – beginning of the 20th century, there were three types of the images of Moscow on the Russian medals. Moscow Kremlin, some landmark buildings or personification of the town are the main images depicted on the medals. Personification of Moscow is the most fascinating medallic image of the old capital. There were only three medals with this allegory. First personification of Moscow was shown on a medal dedicated to the Patriotic war of 1812 – “Liberation of Moscow” belonging to the series of count F.P. Tolstoy, minted in 1834. Allegory was dressed according to the Russian fashion of the beginning of the 19th century. And wore stylized sarafan (Russian folk costume) and kokoshnik (traditional Russian headdress). Two other personification were depicted after the first one.
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Balbekova, Irina Mikhailovna. "The phenomenon of the chess game in the art of the XX century." Философия и культура, no. 5 (May 2022): 1–11. http://dx.doi.org/10.7256/2454-0757.2022.5.37881.
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This article examines the history of the creation of game theory as a phenomenon of culture and art. Contribution of theorists and artists of the twentieth century in the formation of game theory, its place in modern art criticism and philosophy. The significance and influence of the personality of Marcel Duchamp, surrealist artists in creating a modern understanding of the game in art and in life. The subject of the research in this article is such concepts as the game and its place in art criticism in general, and the role and significance of the chess game in particular, using the example of the creativity and activity of Marcel Duchamp. The author's view on understanding the problem of the mutual influence of the chess game and artistic creativity is proposed. An attempt is made to explain the motivation for choosing a game as an artistic principle and method. How important is the use of the game in creating an artistic image, the creative image of the artist is also significant. The methodology of the study is based on the basic principles of the game theory of Roger Caillois and Johan Huising in relation to the chess strategy of Marcel Duchamp. The novelty of this work lies in drawing attention to the role and significance of the chess game on creativity, the influence on the aesthetic, artistic and philosophical views of the artist.
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Volynska, O. S. "The contents of an education Galichiny in the beginning of XX century." Educational Dimension 16, no. 1 (December 14, 2006): 93–105. http://dx.doi.org/10.31812/educdim.6079.
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Volynska, O. S. "The contents of an education Galichiny in the beginning of XX century." Educational Dimension 16, no. 1 (December 14, 2006): 93–105. http://dx.doi.org/10.31812/educdim.6079.
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Murtazaliev, Ahmed Magomedovich. "THE ART WORLD OF MAGOMED FROM TLOKH." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 23 (September 14, 2020): 25–33. http://dx.doi.org/10.31029/vestiyali23/4.
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The article discusses the features of the poetry of one of the famous Avar authors of the late XIX – early XX century, Mahomed from Tlokh. Marked by the seal of a talented performance, it demonstrated not only the author's skill, but also his ability to penetrate into the intimate world of human relationships, into the atmosphere of the most complex social events and, poetically interpreting them, to give them an artistic assessment.
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Kyshakevych, S. "Analysis of evolution processes in the Ukrainian variety song art at the end of XX — beginning of the XXI century in the scientific works of Mykola Mozghovyi." Culture of Ukraine, no. 72 (June 23, 2021): 96–100. http://dx.doi.org/10.31516/2410-5325.072.13.
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The purpose of the article is research of the scientific and creative heritage of Mykola Mozghovyi in the context of the evolution processes analysis in the Ukrainian pop song art at the end of XX — beginning of XXI century.
Methodology is based on culturological and art history research of contemporary musical culture.
Results. The article is devoted to the study of the art, pedagogical and scientific heritage of the Ukrainian pop singer, poet and composer, People’s Artist of Ukraine, candidate of art history, professor of Dragomanov Kyiv National Pedagogical University Mykola Mozghovyi in context of historical development analysis of Ukrainian variety song art. An analysis of modern scientific literature devoted to the historical development of mass musical culture and show business in Ukraine has shown that this issue remains almost the least studied sphere of national culture. In modern conditions of show business functioning, the importance of studying the artistic achievements of the past, researching the creativity of such notable professionals as Mykola Mozghovyi is emphasized. It is shown that Mykola Mozghovyi as a scientist was the first who systematically studied the evolution processes of Ukrainian variety song art formation in Ukraine, determined a number of factors that define the level of “massification” of the national variety art and analyzed the role of technical means in the historical development of the Ukrainian variety music at the end of XX — beginning of XXI century. Mykola Mozghovyi attributed particular importance to modern market mechanisms and cultural factors as determining factors in the evolutionary development of the pop song genre.
Novelty. The analysis of evolutionary processes In Ukrainian variety song art at the end of XX — beginning of XXI century was further developed based on the use of scientific works of Mykola Mozghovyi.
Practical significance. Materials and conclusions of the study can be used in practical activities of Ukrainian producers, managers and performers who are interested in promoting their works, further scientific and educational works, for example, in the development of lectures on the courses associated with variety music.
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Aytmuratov, Zhalgas. "THE ROLE OF THE ENSEMBLE "AYKULASH ZHULDYZLARY" IN THE DEVELOPMENT OF THE ART OF KARAKALPAKSTAN." American Journal Of Social Sciences And Humanity Research 02, no. 05 (May 1, 2022): 17–24. http://dx.doi.org/10.37547/ajsshr/volume02issue05-04.
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In the second half of the XX century, a significant event took place in the Karakalpak national song and dance art, the folk ensemble "Aykulash" was founded. The ensemble laid the foundation of the choreographic art of Karakalpakstan with its creative activity. His repertoire has become a model of folk art. For 65 years of its creative activity, the ensemble has created a singing and dance school in Karakalpakstan. The ensemble presented its unique repertoire to the peoples of the world.
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Avdeyeva, Vera Vladimirovna. "Psychological approach towards studying the naive art: practice of art brut." Человек и культура, no. 1 (January 2021): 16–25. http://dx.doi.org/10.25136/2409-8744.2021.1.34999.
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The subject of this research is the peculiarities of the psychological approaches of European experts of the late XIX – early XX centuries (psychiatrists of the so-called “historical psychiatry”), art historians and painters of the XX century, specializing in collection of the works of mentally ill people (or art brut). The historical-comparative method is applied for determination of the specifics of the naive art of Western Europe in the XIX – XX centuries and its comparison with other areas of amateur art of this period. The psychological approach is essential for studying the works of mentally ill people (or art brut) and its key peculiarities. The comparative method allows analyzing the modern forms of art brut and naive art. The novelty consists in outlining the principal psychological approaches of foreign experts with the art brut, the interpretation of which contributes to decoding of all amateur art. Evolution of views stems from determination of similarities between genius and mental disorders, tracing patterns in creative process of the patients, assessment of the ability of a person with mental disorder to creative thinking and invent the object of art prior to learning the artistic beginning. In this regard, the psychological approach revealed the key trends in studying amateur art: from the perspective of Marseille Rege (with his “embryonic” view) to the point of view of Morgenthaller (with his realization of creativity of the patients), and artistic views of Prinzhorn and Dubuffet, who focus on the art criteria: vision of form, color, composition and other formal attributes of an artwork. Thus, the interpretation of art brut becomes a certain “bridge” for understanding the sphere of the naive art.
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Melnychuk, Maksym. "Ajornamento sacred art of Catholicism in the context of philosophical analysis." Ukrainian Religious Studies, no. 66 (February 26, 2013): 364–71. http://dx.doi.org/10.32420/2013.66.284.
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An alternative to the traditional religious and religious art was the time, which, especially in the XX century, began to intensively transform the entire arsenal of sacred art into the art at a fast pace. All changed - architecture, fine arts, music, literature ... There were new types of art, and traditional ones, under the pressure of socio-economic changes and globalization processes, experienced significant deformations in both form and content. Extrapolation of these tendencies to the life of the Christian church and its sacred inspiration in religious art caused a violent reaction, opposition and confusion. Christianity also had to face similar processes, to adapt to the demands of time, but the scale of change that life in the 20th century required was completely different.
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Demchenko, Alexander I. "The Art of Music in the 20th Century (Based on the Material of Choral Music)." IKONI / ICONI, no. 4 (2021): 142–58. http://dx.doi.org/10.33779/2658-4824.2021.4.142-158.
Full textAbstract:
The lectures on 20th century Russian music published in previous issues of our magazine were devoted to the work of such outstanding composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitri Shostakovich, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke. In the last of the published lectures brief sketches on the music of Sergei Slonimsky, Valery Gavrilin and Elena Gokhman were presented. Completing this cycle of lectures, we shall give a general overview of the art of music of the previous century, which is examined on the basis of choral music and in the successive evolutionary movement of three periods. The beginning of the 20th century (the period between the 1890s and the 1920s) was a time of both gradual and abrupt transition from classics to modernity. During these decades the classical arts went through a period of gradual fading. Modern art asserted itself in all sorts of forms of pivotal renewal of all aesthetic and technical foundations, which received its extreme expression in the phenomenon of avant-garde art. The middle of the century (from the 1930s to the 1950s) was in no small measure opposed to the attitudes of the beginning of the century. In this time period it was dominated by a desire for orderliness and balance, for clarity and intelligibility, to the extent that this was possible in the highly contradictory reality of the 20th century, which was accompanied by a clearing and enlightenment of the musical style, as well as a return to tradition. In turn, the second half of the century (from the 1960s to the 1980s) in many respects opposed itself to the previous period with the processes of rapid modernization of composers’ thinking, intense artistic exploration and unrestrained experimentation, which resulted in an extremely representative movement, which began to be called the second avant-garde (in contrast from the first or early avant-garde which emerged at the beginning of the century). A radical renewal of artistic matter found itself in the mass of all kinds of inventions and sound techniques.
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GRECU, Vasile. "Bessarabian piano art at the confl uence of the XIX-XX centuries." Arta 31, no. 2 (January 2023): 41–45. http://dx.doi.org/10.52603/arta.2022.31-2.05.
Full textAbstract:
Since the end of the XIX century — beginning of the XX century, the musical life in Bessarabia is being intensified due to the artistic activity of some professional musicians with studies at Russian and Western European conservatories, thus creating standards of musical education and interpretive mastery with a significant impact on the professional training of pianists. The first musical institutions appear: M. Voloshinovskaya, who had studied in Vienna, opened a private school in 1891 in Chisinau. Previously, in 1890, a music school, accessible to all social classes, was opened at the initiative of Vasile Gutor, born in Chișinău and having graduated from the Saint Petersburg Conservatory in Professor K. Davydov’s cello class. At the same time, premises of the national school of composition are manifested; the first works for piano being made in the style and forms of Western schools adapted to the native oral sound stratum. As a result of the adaptation and the valorization of musical folklore, professional music is being developed in the Bessarabian area.