Статті в журналах з теми "Color tone of decorative stone"

This article deals with the questions of creation and use of decorative and finishing concrete and mortar. It has been revealed that the most effective artificial rock-imitating stone materials are those made of decorative concrete with the opened internal structure of material. At the same time it is important that the particles of decorative aggregate should be distributed evenly in the concrete volume. It can be reached only at a continuous grain-size analysis of the aggregate from the given rock. The article tackles the necessity of natural stone materials imitation for the cement stone color to correspond to the color of the rock. The possibility of creation of the decorative concrete imitating rocks in the high-speed turbulent mixer is considered. Dependences of durability and frost resistance of the studied concrete on the pore size and character and also parameters characterizing crack resistance of concrete are received.

It is known that enamel coatings with enhanced protective and decorative properties can be fabricated on the basis of boron-silicate glass frits with an increased content of TiO2 in their composition. Opacity and white color of enamel coatings are due to their crystallization at firing temperatures. Titanium glass enamels are not pure white visually, and show yellow and blue shades depending on their chemical composition. The purpose of this work was to establish the influence of basic components on the water resistance and color characteristics of titanium enamel coatings. Our experimental study was focused on the glass frits with the chemical composition described by the generalized formula (76–n–m)SiO2nB2O3mNa2O24MexOy, where MexOy is the total content of TiO2, ZrO2, Al2O3, MgO, СaO, P2O5, and K2O. It was found that the glass frits with the following content of basic components (mol.%): Na2O 12–13, K2O 3, B2O3 10–11, SiO2 49–51 demonstrated the highest water-resistant properties. The color characteristics of titanium enamel coatings prepared on the basis of the mentioned glass frits differ significantly from the reference white light A; the titanium enamel coatings under consideration have a yellow-green tint. The highest deviations of the enamel coating color purity and color tone from a standard of white color were observed when increasing the Na2O content in the glass frits composition at the expense of SiO2. The color of titanium coatings with the highest water resistance has a deviation from the standard of white color within 4–6%.

The construction industry is demanding more and more quality decorative cements. The demand for them and the requirements for their performance are constantly growing. But since decorative cements are based on white Portland cement, their production is associated with the disadvantages of the production of all clinker cements  low environmental friendliness, high energy consumption and high prices. They are not always able to provide decorative ecological and comfortable coatings with increased performance. In addition, many countries do not produce it and have to import it. An effective alternative to decorative clinker cements can be decorative slag-alkaline cement obtained from industrial waste. It also provides a number of special properties  a wide range of colors, color fastness, high strength, high adhesion, durability and many others. But the problem associated with the use of slag-alkaline cements as decorative cements with high linen ( 70%) is the unstable chemical composition of the slag and, first of all, the different presence of iron oxides in it. It is shown that the presence of iron oxides can reduce the whiteness of decorative slag-alkaline cements due to the synthesis of compounds in them, which give the samples of blue-green color and due to the presence of iron oxides proper, which are inherent in color from brown to dark brown. The paper shows the regularities of the influence of the chemical composition of blast-furnace slags on the whiteness of an artificial slag-alkaline stone. Possibilities of obtaining decorative alkali-activated cements with a wide range of whiteness  from 70 to 97% are shown. Methods of reducing the cost of slag-alkaline decorative cements by using a complex bleaching additive, where part of the expensive TiO2 can be replaced by kaolin or CaCO3, are shown. A new method for determining the whiteness of hardened materials is proposed.

The article consists in the development of compositions of self-compacting powder-activated fine-grained (sand) concrete mixtures, including color ones, for the production of high-density, high-strength and durable architectural and decorative concretes, which do not lose their architectural appeal during long-term operation, on the basis of multi-tonnage waste of stone crushing of various rocks, without the use of expensive mineral reactive components and the study of their physical and technical properties.

With the development of estate and decoration industry, decorative paper become more and more popular, people's needs and requirements are also increasing. However, compared with imported decorative base paper, domestic decorative base paper have a lot of quality problems. In order to improve the performance of domestic decorative paper, surface sizing was used to improve the printing performance and final product quality of domestic decorative base paper in this study. Starch and styrene-acrylic emulsion (SAE) were used as the surface sizing agents for the surface treatment of decorative base paper by the German SUMET coating machine in this paper. Under the conditions of sizing roll pressure of 250N, sizing speed 9m/min, drying temperature and time of 100°C and 70s respective, the effects of metering roller type (No.40 and No.30) and different ratios of starch and SAE ratio (10:1, 15:1, 20:1, 25:1 and 30:1) on the decorative base paper printing performance were investigated in this paper. The optimal sizing conditions and formulation for decorative base paper were as follows: roll pressure 250N, sizing speed 9m/min, drying temperature and time of 100°C and 70s respective, No.30 metering roll, the ration of starch and SAE 20:1. Under this conditions, printing runnability of decorative base paper such as the tensile strength, smoothness were increase greatly and the pH value reached the national standard, the printability such as the color density, tone reproduction range were improved.

Vietnam's natural resources are plentiful and variuos, researching, searching, evaluating the quality and reserves of minerals resources in order to meet the needs of socio-economic development is the responsibility of the geological industry. To initially investigate, evaluate and introduce to the market the construction of a new decorative material of high quality and value, and provide materials and samples for the training of geology students of Ho Chi Minh City University of Technology, the author has used many methods: field working, measurement, photographing, taking and analyzing samples to research of petrography - mineral characteristics and preliminary evaluation of the ability to use decorative stone of the effusive magmatic acid rock in the South Middle region of Vietnam. After polishing samples, the author find that the high gloss (75-85%), beautifully curly color pattern, each sample has an unique beauty and aesthetics. Preliminary evaluation is samples can be used like decorative stones.

The paper presents the study on the identification of patterns of coloring of a basic glass matrix and enamel coatings based on it in the system R2O–ВаО–ZnO–Al2O3–В2О3–TiO2–SiO2 by a number of ionic dyes. Regardless of the dye content, ionic dyes give the same color tone to both glasses and coatings based on these glasses as follows: CuO (1.0–3.0 wt.%) =489–494 nm (blue-green), Fe2O3 (0.5–2.0 wt.%) =575–585 nm (yellow), K2Cr2O7 (0.5–2.0 wt.%) =570–576 nm (yellow-green), CoO (0.5–1.0 wt.%) =441–463 nm (blue-violet), and NiO (0.5–1.0 wt.%) glass=559'–571' nm, coatings=598–629 nm (brown). It is shown that according to the degree of color intensity of glasses and coatings based on them, the dyes are arranged in the following sequence: CoO>NiO>CuO>K2Cr2O7>Fe2O3.. The research was conducted using a special computer program COLOR GLASS. The established patterns are used in the development of lead-free glass enamels for jewelry and decorative products.

White building components, whether decorative or the overall structure, are susceptible to extreme weathering conditions, which affect the durability of the building’s external surface. In particular, white natural stone materials can provide buildings with beauty, durability, and sustainability, but this beauty is affected by key factors determining their weather resistance, namely physical properties such as porosity and acid and alkali resistances. As indicated by a past study, marble used as the exterior wall of a building in a similar environment will exhibit tarnishing after six months of weathering. Taiwan is a subtropical island, so the weather resistance of building materials to this environment is worthy of attention. As pointed out by the study, raw stone materials containing zirconium and silica can have greater weather resistance, do not easily change color, and possess good stress resistance properties. Focusing on this, this study attempted to identify stone materials with such compositions and sent samples to SGS (Societe Generale de Surveillance S.A., New Taipei City, Taiwan) for testing of weather resistance. This paper uses Spanish artificial stones for the study and observes the changes in the surface cleanliness on two buildings in Yilan County and Taipei in Taiwan after exposure to sun and rain. The experiments were conducted over two years. The study results showed that the artificial stones displayed no change in outward appearance under both rainy and acid rain environments. In Yilan, construction of an exterior wall was carried out in February 2018. The exterior wall used the white artificial stone directly from the manufacturer, and the black artificial stone with added paint for stone protection. After two months, the black artificial stone covered with paint exhibited a change in color and stains appeared on the surface, while the white artificial stone not covered with paint maintained the same cleanliness after two years. In Taipei, white Spanish artificial stone was used for the exterior wall of an entire building block in February 2020. After the frame was dismantled in September 2020, the color was found to be unaffected, being as pure white as it was when new. Therefore, this study selected Spanish artificial stone for the design of a building’s exterior wall, as the cleanliness of the stone surface is not affected and it has good applicability in rainy and acid rain island environments.

Aim. The aim to identify valuable source material from the number of intraspecific, interspecific and intergeneric hybrids of stone fruit plants to improve and expand the varietal composition of peach that meets the needs of industrial and amateur gardening. Methods. Program and methods of varietal study of fruit, berry and nut crops / Ed. G. A. Lobanov. Michurinsk, 1973. 492 p. Program and methods of selection of fruit, berry and nut crops / Ed. G. A. Lobanov. Michurinsk, 1980. 529 p. Program and methods of selection of fruit, berry and nut crops / Ed. Sedova and T. P. Ogoltsova. Orel: VNIISPK, 1999. 608 p. Results. New genotypes of peach, which are sources of cytoplasmic male sterility (CMS), were selected; large-fruited peach I4 970-89 was isolated, as a pollinator for genotypes with male sterility; in the population of hybrid seedlings F2 (peach of the world x David peach) we identified new genotypes of plants with absent characters in their original species; with resistance to powdery mildew and leaf curl, dwarf plant growth, forms with decorative double flowers, white, pink and purple-red color of the petals of the corolla, bell-shaped and rosy flower types, male sterility, pollen fertility and honey taste of the fruit inherited from his wild ancestor - David peach. Summary. Selected maternal genotypes of the original parental forms of apricot, with a character of CMS - 189-88, 249-81, 498-86. They are of breeding value for the development of new peach cultivars. Peach I4 970-89 of the Nikitsky Botanical Gardens’ breeding is a pollinator for hybrids of peach with common almond, characterized by male sterility. Valuable characters of David peach could be transferred to common peach and its cultivars as a result of natural hybridization due to their joint growth in the primary Chinese-Japanese genetic center. From wild ancestor, David peach common peach cultivars inherited such valuable characteristics as resistance to powdery mildew and leaf curl, dwarf growth of plants, shapes with decorative double flowers, white, pink and purple-red petals of the corolla campanulate and rose-like types of flower, male sterility, pollen fertility and the honey taste of the fruit.

Experiments were carried out to determine the rational range of the proportion of fillers from sand and the dropout of crushing concrete scrap as a replacement part of the cement to obtain colloidal cement glue and to assess the effect of fillers of different specific surface area and the degree of filling on the kinetics of the set of strength of the hardened stone. It is established that the composition of the concrete scrap crushing drop-out contains about 30% of non-hydrated Portland cement, which deter-mines its use as an active micro-filler in the production of fine cement sys-tems. According to its chemical composition, the elimination of crushing of concrete scrap from heavy concrete is presented in the form of com-pounds of oxide groups, which, as a result of the interaction, provide the process of solid-phase synthesis of new compounds and are not able to en-ter into chemical interaction with pigments, the color of which is deter-mined by the type and content of iron oxides, and therefore has no contra-indications for use in decorative thin-milled cement systems.

The purpose of the research is to study the mineralogical and petrographic characteristics of the Eastern Sayan serpentinites in order to identify their most decorative varieties. The objects of the study are the samples of serpentinites from the Ulan-Khodinskoye and Khokhurtovskoye deposits of the Eastern Sayan. Six samples were studied macroscopically then polished plates were made from them for gemological examination and thin sections for microscopic examination. All studies were carried out using standard gemological methods at the Gemmology Research Laboratory of the Irkutsk National Research Technical University. The petrographic study of thin sections was carried out using an Axio Lab A1 microscope. Macroscopically, two main ornamental varieties of serpentinite were identified: spotted bluish-green serpentinite and massive serpentinite of the color from dark green to black. The spotted structure of serpentinite is determined by numerous inclusions of ore minerals including magnetite and iron oxides. Its hardness is 4.5 on the Moh’s scale, its gloss is matte. The data on the main gemological characteristics of the samples corresponding to the results of already published studies of gem-quality serpentinites from other deposits were also obtained. Having analyzed the microstructure and mineral composition of the Eastern Sayan serpentinites, their correspondence to the spotty and massive decorative varieties of serpentinites from other Russian deposits was revealed. At the moment, this material is not duly appreciated, although it may well be used as a sculptural and jewelry-ornamental decorative stone.

Landscaped areas provide individual, distinctive features and play an important role in shaping the environment of a private garden plot. The authors of the present study developed a landscaping project for a private garden plot at 80 Izmailivska Street, city of Zaporizhzhia. One of the main points of the works was to conduct an inventory of the available plantings. The authors identified the species composition of trees and shrubs located on the landscaping territory. In the project territory, the largest area is occupied by herbaceous cover and is 32.5%, while the smallest area is allocated for tree plantations – only 1.9%. The area under paving and flower beds will be increased at the expense of the territory that is not occupied in the reconstruction project. In the project area, most woody plants require only pruning and are in good condition. Pruning is planned for 10 black mulberry trees (Mórus nígra L.), remnants of a privet hedge (Ligústrum vulgáre), one bush of Vanhoutt Spiraea (Spiraea × vanhouttei (Briot) Zabel.) and one bush of rosehip corymbose (Rosa corymbifera), which have lost their decorative appeal. The formation of plantings in this study aims to create an orderly shape of the crowns of trees and shrubs, which will give them a geometric shape. For decorative purposes, it is also planned to plant the following plants: boxwood tree (Buxus sempervirens var.), iris brazenberry (Iris L. brazenberry), moss phlox (Phlox subulata L.). On the site located to the east of the outbuilding, it is proposed to set up a flower garden from groundcover and flowering plants in a peculiar geometric shape that would follow the shape of the path. On the north-western side of the plot, it is planned to replace the fence with a modular gabion wall covered with rambling vine. The colour of elements of this style should be made in cool, grey tones, white, blue and purple colours are well combined. As a result, it is planned to set up a decorative pond near the arbour, the contour of which will be decorated with smooth stones. The rest of the area is to be covered with a rolled lawn. As a result, an individual and beautiful style of landscape design will be selected for the project area

Between 1884 and 1887, Antoni Gaudí built two rather modest constructions for his patron, Eusebi Güell: a stable for the horses and a porterhouse for his country house in Les Corts. In these constructions, he makes an important step in relation to his previous works, El Capricho (Comillas, Santander) and the Casa Vicenç (Barcelona). The tiles used in both, featuring lines of color that contrast with the brick and stone, derive from an original system of using ceramic, the trencadís. He takes as a reference point the Arabic or Mudejar building system to embed ceramic pieces in the walls and in the coronation railings of the buildings, but adds a brilliant contribution by converting it into “broken” ceramics. We call this ornamental resource trencadís, since trencar means broken in Catalan. This technique is one of Gaudí’s more significant decorative choices with brilliant examples of this being the façade of Casa Batlló and the dragon and banc-balustrade in Park Güell.

The paper analyzes the selection of species of perennial herbaceous flowering plants to enrich the existing range in the landscaping of the cities of the Kola Polar region. The selection of the assortment of perennials for landscaping of the cities was carried out by the Polar-Alpine Botanical garden institute for the first time. Currently, the assortment of perennial flowering plants has enriched and it is represented by 115 species in 28 families. New species have a high decorative value, stability and passed a long period of tests on collection nurseries and in urban conditions. Analysis of the existing range and the study of the results of long-term tests of various plants in nature provide an opportunity to identify the main families and species, whose representatives have a high decorative value and stability in the Far North. Families Primulaceae and Rosaceae Juss are the most promising to replenish the landscaping assortment. When forming the assortment, the number of species is very important as well as their ratio in different groups by flowering period, color tone and height. As the analysis of species diversity showed, it is necessary to increase the early-flowering perennials, especially with yellow-orange and purple-red shades of flowers. It has been noted that the percentage of border plants with compact shrubs was low. In the existing assortment, the positive aspect is the balance of warm and cold tones. Due to the resistance to the harsh climatic and environmental conditions of the Kola North perennial herbaceous plants are perspectives for landscaping the cities of the Kola Subarctic.

Architectural monuments of Lviv, buildings of its historical center are rich in details made of natural stone. When constructing buildings and performing architectural decoration, limestone was most often used. It is mild and easy to handle stone. In addition it’s an extremely decorative bright white stone, and the parts made from it are called white stone details. Often, architectural details and those that are part of architecture and those that are part of museum collections require restoration, as well as additions as part of restoration work. We will talk about the additions and the methodology of their implementation on the example of diploma works of the students of the Department of Architecture and Restoration of NU Lviv Polytechnic. Addition can be performed in different ways using different technologies. Here it is worth considering the restoration concept, which may be different. Additions can be made in such a way that they are not noticeable, but it can be so that at first sight it is clear which part of the detail is the original, which is an addition or reconstruction. The missing part can be add by way of execution of natural stone. Another method of stone architectural details addition is work with restoration stone masses. If we are talking about white stone architectural details, then the restoration mass is executed on the basis of limestone binder. The technique of working with the restoration masses is historical and traditional, known since the Renaissance. Today, restorers in their practice should be guided by state regulatory documents. The article gives examples of the architectural details addition with the restoration masses performed by the bachelors and masters of the Department of Architecture and Restoration of the Lviv Polytechnic National University. These examples illustrate the methods of working with the restoration mass and its capabilities in the performance of small, delicate, fine details and massive volumes. Its behavior when imitating the color and texture and the ability to work with the restoration mass in different conditions. The methodology described and illustrated in the article, has been tested and proved its capacity.

This paper deals with a study of the physical and mechanical characteristics of volcanic tuff and ignimbrite from six quarries located at different areas in the western part of Yemen (Manakha, Jahran, Bakhran, Dar Al-Hanash, Abaser and Soraifa). In the region, volcanic tuffs and ignimbrite are locally known by their location names and have been used as solid masonry and cladding stones. All the investigated pyroclastic rocks belong to the Tertiary volcanic. The standard physical and mechanical tests (void ratio, porosity, density, specific gravity, water absorption, uniaxial compressive strength and tensile strength) were carried out on the tuff and ignimbrite samples collected from different parts of the region. Laboratory tests revealed that the void ratio average values range between 0.12 and 0.37, the porosity ranges between 10.57 and 27.12%, the dry density ranges between 1.66 and 2.25 gm/cm3, specific gravity ranges from 1.45 to 1.94, and water absorption ranges from 4.69 to 16.39%. The measured uniaxial compressive strength values range from 24 to 68 MPa, and the tensile strength values range between 4 and 10 MPa. These tuffs and ignimbrites generally are light green, gray, beige, or yellowish in color. With these colors they are favoured for building, coating and decorative stone. This paper concludes that the studied stones have acceptable to good properties as dimension stone. Jahrani and Manakhi tuffs are the best quality, whereas Hanashi ignimbrite is of poorer quality.

The article presents the results of the primary introduction study of nine new varieties of the genus Narcissus L. (‘Apricot Whirl’, ‘Candy Princess’, ‘Green Eyes’, ‘Mon Cheri’, ‘Peach Cobbler’, ‘Slim Whitman’, ‘Sunlover’, ‘Sunny Girlfriend’, ‘Sunny Side Up’) on the basis of the South-Ural Botanical Garden-Institute of Ufa Federal Research Centre of Russian Academy of Sciences. It is shown that more than half of these cultivars from the SUBGI UFRC RAS collection are represented by plants registered in the last century. According to the international classification, introduced species were assigned to four groups. The maximum number of varieties is presented in groups: large-crowned narcissus and narcissus with a split crown. It was revealed that in two years of study, all cultivars reached the flowering phase. The main biomorphological parameters of introduced varieties (plant height, leaf length and width, flower diameter, length and width of the crown and perianth lobes) were studied. It has been determined that most varieties are characterized by a two-tone color and an average flower size. Phenological observations were carried out. It was revealed that spring regrowth in all studied varieties is observed aft er snow melt in the second decade of April. By the timing of flowering, cultivars are divided into early (flowering in the III decade of April) and early middle (flowering in the I decade of May). The duration of the flowering phase varied on average from 6 to 12 days. The decorative qualities of the studied varieties have been investigated. On a 100-point scale, five cultivars scored over 90 points (‘Mon Cheri’, ‘Sunlover’, ‘Candy Princess’, ‘Apricot Whirl’, ‘Sunny Side Up’). They have large and beautifully shaped flowers, with a clean bright color of the perianth and crown, strong and tall peduncles, long and abundant flowering, pleasant aroma. These varieties are the most promising for inclusion in the zonal assortment of cultivated plants recommended for use in green building in the Republic of Bashkortostan.

Problem statement. The problem of improving the learning process can be solved by increasing the educational collections of minerals and rocks that can be found every day, but for various reasons, do not pay attention to them. The best samples of various stone materials were usually used for cladding. Similarly, in the external and internal cladding of the academy buildings were used varieties of rocks that differ in strength, color, texture, structure and inclusions of minerals and are the best examples of decorative building materials. Purpose of the article. All this diverse stone decoration of the Academy can be used in the educational process, in particular, for the study of minerals and rocks within the discipline “Engineering Geology”, which is read to all students of the Faculty of Civil Engineering and Architecture, as well as the Faculty of Civil Engineering and Ecology. Conclusion. All this diverse stone decoration of the Academy is quite possible to use in the educational process, in particular, for the study of minerals and rocks in the framework of teaching the discipline “Engineering Geology”, which is read to all students of the Faculty of Civil Engineering and Architecture, as well as the Faculty of Civil Engineering and Ecology. Thanks to the polished surface of large slabs of facing rocks, it is possible to visually and more fully identify rocks while studying the relevant disciplines, which is convenient for teaching students of all specialties. It is expedient to use facing materials of buildings of educational institution in the course of studying of geological disciplines, especially for students-architects for what it is necessary to provide target excursions on buildings of academy. Various rocks, with which the interior elements are faced, serve as a good addition to the existing educational collections of the Department of Engineering Geology and Geotechnics.

Identification of materials, masonry elements, their shapes, physical and mechanical parameters and type of connection is crucial for the conservation works related to ancient masonry structures. In the case of the archaeological site where the research was carried out (Tanais in Russia), some irregular masonries made of limestone and earth-based mortar were stated. Such type of structures is a common finding during the archaeological excavations in the Black Sea basin carried out by the Division of Fundamental of Building of the Civil Engineering Faculty of the Warsaw University of Technology in cooperation with the Institute of Archaeology of the University of Warsaw and the Antiquity in Southeastern Europe Research Center. The structure of such walls is degraded to a large extent, has low strength, internal cohesion and, as a result—low durability. At the same time, due to their historical importance, proper conservation, as well as the development of the whole methodology for selecting the best composition of earth-based mortar, is of great importance. Presented in the article, research on earth-based mortars were carried out to determine the best way to strengthen them, using cement (creating an earth-based mortar stabilized with cement with the most appropriate recipe) and other substances available in the region where conservation works are carried out not only to improve the durability physical and mechanical parameters but also to achieve the desired esthetic effect in the form of a suitable tone together with the compatibility of repair mortar with the substrate and constitutes the primary stage of creating the whole methodology of selecting a proper composition of earth-based mortar for the conservation of ancient stone structures. In this stage, four criteria were taken into consideration: mechanical (compressive strength test), conservation (compatibility, reversibility, color, texture and surface profile), durability (freeze–thaw test, the appropriate finish of the surface, shrinkage, workability) and technological one (application of materials, technology and techniques available at the conservation area). Applied treatment was evaluated in the next two years of the conservation works. Parameters of repair earth-based mortar stabilized with cement fulfilled all of the above-mentioned requirements.

Background. Mural paintings occupy a special place in the ensemble decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century. They are at the same level with decorative sculpture, exquisite staircase forging, ornamental floor decor, and polychrome stained glass. Not only do the decorative compositions in the entrance spaces mural paintings serve as a stylistic feature of decoration, but also are a component of owner's self-identification, testify to their aesthetic preferences and cultural level, demonstrate their material capacities. Practically all wealthy residential buildings and villas of the late XIXth – early XXth centuries contained murals as a necessary element of decoration. They were guided by the principle of uniqueness of each art piece. Preserved mural paintings are characterized by the high quality of execution, variety of scenes and color decisions. Many foreign and Ukrainian scholars look into the aesthetics of architecture and the interaction of the synthesis of arts in it: Y. Biryulov, T. Kazantseva, L. Polischuk, O. Silnyk, I. Zhuk, M. Studnytska and others. However, the authors do not analyze mural paintings of the residential buildings interior in Eastern Galicia, especially of the entrance spaces, which are a buffer zone between outside and inside of the building. Thus, at present, numerous design elements that are in the entrance spaces of residential buildings are at risk of extinction. That is why we need to stress the problem of preservation of the authentic artistic paintings within the program of lobbies and stairwells decoration in the residential buildings of Eastern Galicia at the end of the XIXth – first third of the XXth century. For this reason, our research is relevant and topical. The objectives of this article are to typologize artistic mural paintings in the decoration of the entrance spaces of residential buildings in Eastern Galicia at the end of the XIXth – first third of the XXth century according to the stylistic forms (neo-gothic, neo-renaissance, neo-baroque, neo-baroque, neo-rococo, in the empire style and modern) and to classify them into thematic (mythological and allegorical images) and ornamental compositions. Methods. The article uses a complex method of architectural-stylistic and art-study analysis, which covers traditional general scientific approaches to the solution of the tasks. Additionally, the method of field studies has been applied, through which we can obtain reliable information on the status of entrance spaces of living buildings in modern conditions. According to the results of the field studies, the mural paintings in the decoration of the entrance spaces of residential buildings in East Galicia of the late XIXth – first third of the XXth century have been analyzed. Types of paintings were typologies (neo-gothic, neo-renaissance, neo-baroque, neo-rococo, in the empire style and modern). The mural paintings are classified according to the motives (mythological and allegorical images) and ornamental compositions. The correlation between the adornment of ceilings and walls and other arts in the decoration of the entrance spaces of the Eastern Galician residential buildings at the end of the XIXth – first third of the XXth century has been traced. Conclusions. The architecture of each historical period is characterized by a certain color scheme. In the palette of paintings of the late XIXth – early XX centuries the pastel shades are dominant. They create a particularly elevated atmosphere in the interior of the entrance spaces due to the nuance of tone and color. The architectural and artistic themes on the facades of a building are often supported in the interior – entrance spaces. The stylish total ability of decoration does not interfere with their complex texture and color, which is used, all the elements highlight each other, transferring in the tonal emotionality of the system set by the paintings. Unfortunately, the number of mural paintings in the entrance spaces of residential buildings are often being fixed or non-professionally restored (like the mural paintings on 14 Kravchuk St. in Lviv). Because of these factors, the authentic colors fade away and their value significantly decreases. Moreover, mural paintings often crumble as time passes.

This article is about the artistic legacy of the famous monumental artist Grigory Avksentievich Dovzhenko, who lived and worked in the difficult and contradictory times of Ukrainian history and yet managed to preserve the identity of our culture in his works, perpetuate its signs in paintings, murals, mosaics, «Stone embroidered shirts». Studying local history, preserving cultural heritage sites, popularizing the historical past contributes to the formation of national and local identities, and gives impetus to the development of local communities. It is the community, its past, its distinctive identity, that is becoming the determining factor today, especially in the light of the processes of decentralization and preservation of the memory of generations. Life fate and creative heritage of G. Dovzhenko, a famous Ukrainian monumental artist, who devoted almost six decades to art. Each of his thoughts, every sketch, drawing, portrait, panel, still life is a continuation of eternal life, preservation of family memory. His creative heritage enriches today's and future generations. It must be remembered that the culture of every nation belongs to humanity, and our holy duty is to honor our cultural lights, be proud of them and popularize them, otherwise our awareness of ourselves as a nation will be impossible. Also during this period G. Dovzhenko addresses the topics of the national past. This is how the mosaic and fresco images of the times of Kievan Rus and Khmelnytskyi appear. Among the works of these years, the mosaic composition «Kiy, Schek, Choriv and their sister Lybid» is distinguished on the facade of the cinema «Rovesnik» in Kiev (1971), in which the artist managed to show the opto-color possibilities of smalt - the favorite material of ancient Ukrainian masters. G. Dovzhenko also portrays still lifes - bouquets of flowers in jugs, bread, fruits. But most often he paints flowering or covered with abundant fruit tree branches. These peculiar fragments of natural motifs are depicted by harmonious patterns on the canvas. G. Dovzhenko's artistic look reveals the organization of the subject world. The artist is constantly studying the laws and interconnections of natural forms. Hundreds of sketches of flowers and plants are of value to the attentive and skillful reproduction of form and color, the identification of logical structural conditionality of the structure, they are extremely interesting and further stylization, processing into decorative elements. This is a rare case in the practice of contemporary artists, when the artist does not use secondary material, but seeks to find and understand the laws of rhythm and symmetry, color plastics and structure. G. Dovzhenko in his work sought to embody a sense of gratitude for life. The artist was constantly experimenting, looking for different solutions of mosaic panels, based on the use of the best ancient traditions.

Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the innovative method of intermedial research, which consists in attempts to trans-code the elements of the musical semiotic system into a pictorial one and vice versa. B. Asafyev (1987, р. 83) determined the “melos” in music as an abstract notion that unites all the forms of melody and the properties of melodiousness: the qualitative, expressive sides of all kinds of sound correlations as sequences in time. The consistent movement of sounds in a piece of music is called “a line” (for example, a “melodic line”) that gives the reason to see a certain parallel between music and painting. Accordingly, the concept of “melos” in music correlates with the concept of “linearity” (graphics) of a picture. The notion of “colourfulness” was first introduced in the fine arts. The colourfulness is a total of correlations of colour tones, hues, which create a certain unity and are an esthetic reflection of the colour diversity of reality (based on Bilodid, I., 1973, p. 232 and others). In musical science there is no well-established definition of this concept, however, we find such attempts: “Colourfulness [in original –’kolorit’ – translator’s note] (from the Latin ’color’) in music – is the predominant emotional colouring of one or another episode, which is achieved by using various registers, tones, harmonic and other expressive means” (FDSTAR. Electronic music. The site of composers, CJs and DJs). The adjoint concept “colouristics” is used, which is described as follows: “… colouristics – music of subtle and colorful sounds, in which all tones are distinguished (the beginning of the Etude in G sharp minor by Chopin, the scene of the transformation of fishes in the 4th Picture of “Sadko”, bell harmonies by M. P. Mussorgsky, S. V. Rachmaninoff)”(Maklygin, A., 1990, in Musical Encyclopedic Dictionary). The purpose of this article is an attempt to determine the correlation of melos and colourfulness in the musical and fine arts on the example of musical portraits and landscapes from the M. Mussorgsky’s “Pictures at an Exhibition” cycle. Research results. The “Pictures at an Exhibition” piano cycle is created under impression of works by Viktor Hartmann, the artist, architect, and designer. The content of the cycle is a vivid example of music and painting interrelation, therefore it gives an occasion to detailed intermedial analysis to understand the melos and colourfulness correlation in the musical pictures. So, the peculiarities of the melos in “The Gnome” are the quick broken zigzag lines, contains brief chromatic motifs, separated by pauses, grace notes and trills. A special role is given to syncopation, which imitate the Gnome’s limping gait. The texture of M. Mussorgsky’s piece – the octave movement in the party of the right and the left hands without a clearly defined accompaniment can be seen as a musical analogy to colourfulness of V. Hartmann’s sketch with its transparent background. Thus, in Mussorgsky’s play “The Gnome”, melos prevails over colourfulness that coincides with the ratio of melos / color in V. Hartmann’s sketch, since the artist gave preference to drawing creating this picture as monochrome one. “The Old Castle” is extremely colourful, as the composer deals great importance to modal, harmonic and textural factors. In general, it can be argued that the composer inherits the ratio of drawing and colouring in the painting by V. Hartmann, embodying the overall emotional and colourful palette of the picture with the help of tonality (“mysterious” G sharp minor) and texture (basso ostinato as an expression of the statics of the massive old building). Melos prevails over colourfulness and expresses the individuality of images in the “Samuel” Goldenberg and “Schmuÿle”, the musical portrait based on two paintings by V. Hartmann (“Poor Jew”, “Rich Jew in the Fur Hat”). The melodic (linear) component of the work is represented by two musical themes. The first is a characterization of a rich man, in which ascending intonations are used as a symbol of his high social status, by analogy with the proudly raised head and upward glance in the painting by V. Hartmann. The melodic theme of a poor Jew with a downward motion corresponds with the image of the poor man’s stooped figure. “Colour” of the musical portrait, as in the V. Hartmann’s painting, serves only as a background. In the piece “Catacombs. Roman Tomb”, the colorfulness prevails over the melos, The “gloomy” tonality (B minor) and the figurative textural techniques used by the composer (the sound of the melody against the background of tremolo octaves in high register, which can be compared with flickering lantern light in the darkness of the tomb, also juxtaposition of the fragments of the theme in different registers, creating contrasts of light and darkness), clearly reflect the overall colouring of the painting by V. Hartmann. In the musical portrait “The Hut on Hen’s Legs (Baba Yaga)” melos prevails over colorfulness, because it is with the help of melodic means that the portrait of a fairy-tale character is depicted, while the coloristic component of the music in this composition corresponds to the sketch of V. Hartman (where the clock in the house’s form depicted) only partially and plays the role of a landscape background (tremolo and triplets in accompaniment performing a coloristic function). “The Bogatyr (Great) Gates (In the Capital in Kiev)” is based on V. Hartmann’s the architectural and painting project of the city gate. Melos of the composition is presented by three contrasting themes. The graphic drawing of some fragments of these themes associatively correlates with the individual elements of the graphics of V. Hartmann’s picture (the peaked line of the passage in the right hand’s party, the tremolo-like figures). The colourfulness of the piece expresses in part by its texture and tone (E Flat Major, according to N. Rimsky Korsakov, the tone of “walls and cities”). In V. Hartmann’s painting, the drawing prevails over colour; however, M. Mussorgsky rethought the melody / colourful ratio in the piece. Melos conveys only some of the features of the drawing, its most important lines, while textural and coloristic musical means reproduce both, the linear side of the image and colouristics as such, that is, the colouristic component dominates. Conclusions. 1. The melos/colourfulness correlation in M. Mussorgsky’s cycle is regulated as follows: melos prevails over colouring in the pieces “The Gnome”, “Samuel” Goldenberg and “Schmuÿle, “The Hut on Hen’s Legs (Baba Yaga)”; colourfulness prevails over melos in “The Old Castle”, “Catacombs. Roman Tomb”, “The Bogatyr Gate in Kyiv”. 2. The melos / colourfulness correlation in the analyzed pieces from M. Mussorgsky’s cycle corresponds with the melos / colourfulness correlation in the respective V. Hartmann’s paintings. The musical portrait of Baba Yaga in “The Hut on Hen”s legs” is an exception: V. Hartman painted the stylized clock as an example of decorative and applied art, but M. Mussorgsky emphasized the reflection of the fairy-tale image; as well as “The Bogatyr Gate”, where colouristics and volume prevail over grafics and planeness of the architectural sketch. 3. The main expressive means of creating a portrait, as a rule, is the melody (melos), and the landscape – tonality, texture, timbre (colourfulness). The intermedial analysis of the above portraits and landscapes from M. Mussorgsky’s piano cycle confirms this concept.

The purpose of the article is to determine the features of the color component of interior design and to identify the aesthetic and artistic features of the color scheme of a modern work area on the example of the capital's coworking centers. Methodology. Art and art analysis in the aspect of design creativity is applied; structural-semiotic analysis, which involves the identification of symbolic, differentiating functions that are embedded in the color of the interior of the coworking center; the method of structural analysis, which contributed to the study of sign systems of the color of the interior of coworking centers with the decoding of the meanings embedded in them; method of comparative analysis, which establishes common features in the perception of color by modern man, identified the characteristics of the role of color in the interior design of the workspace. Scientific novelty. The semantic significance of color in the interior design of a coworking space is studied; the informativeness of color is analyzed on the basis of three parameters (tone, saturation, and brightness); the compositional and decorative function of color is considered; the aesthetic and artistic features of the color scheme of the modern work area are revealed on the example of Kyiv coworking centers and the priority color scale is determined, which contributes to the increase of working capacity. Conclusions. The basis of color perception – physiological, psychological, and aesthetic factors that determine color associations, semantics, and symbolism of color – are ancient archetypes formed under the influence of socio-economic and sacred factors. A variety of color harmonies are widely used in modern workspaces, in the process of organizing production processes, to create psychological accents that improve performance and reduce fatigue. In the context of coworking center design, the approach to color interior design is based primarily on the desire to create an atmosphere that promotes positive emotions, inspires workers to cooperate and productivity. The study found that the rich creative source of the artistic image of the interior of the coworking center is played by archetypes, which involve the image-associative thinking of designers. The color component is not limited to the characteristic scales that meet the latest trends – it is much wider and demonstrates the diversity of design searches. Key words: coworking center, interior design, colors, semantics, color, working capacity.

Film directors in American cinema have used the artist (painter, singer, thespian, writer, etc.) as a vehicle for auteurist identification in feature bio-pics for decades. The portrayal of the protagonists in these films usually falls victim to the "Van Gogh" syndrome, that is, the insistance on the creative inner turmoil, the solitary, misunderstood genius, and brave rebellion of its central character. This approach, however, breaks down completely when confronted with the void that is the historical figure known as "Andy Warhol." The popular image of Warhol, his studied superficiality, unapologetic commercialism, and outright catatonic demeanour, is completely disruptive to the traditional humanist artist biography. It is unsurprising, then, that recent film protagonists within the more traditional bio-pic framework found Warhol a figure that needed to be contained, neutralised, discredited, and even shot. Mainstream cinematic narrative has added little to the conventions of the artist biography since the Renaissance. Renaissance painter and biographer Giorgio Vasari appropriated the Petrarchian edifying "Great Lives" model to ennoble and sanitise the often problematic and distasteful personalities who populated the Italian art world. This approach prevailed over the next several hundred years, and was expanded upon by the intellectual figures of the Romantic period (who were very aware of Vasari's work). The Romantics contributed to the profile of a proper artist the following traits: misunderstood intellectual fury, dark psychological depths, and flouting of social convention. The bio-pic genre, especially as it relates to biographies of artists, also lauds humanistic "greatness" as its standard of significance. The bio-pic absolutely relies on a strong central figure, who can be shown in about two hours to have some substantial educational value, worthy of the expense of the film-makers and the attention of the viewer. In the mid-1990s, not long after his unexpected death in 1987, a character called "Andy Warhol" appeared in supporting roles in a number of feature films. The Doors (1991), Basquiat (1996), and I Shot Andy Warhol (1996) all feature an Andy Warhol character grounded squarely in various popular myths. All of the three 90s feature films which include Warhol in a substantial speaking role explicitly contrast him against another artist-figure. This other artist is presented as somehow preferable to Warhol, whether in conviction, authenticity, or validity of vision. The artist in question, Basquiat/Morrison/Solanas, predictably serves as the film-makers' lens through which the past is refracted (though more problematically in the case of Solanas). Warhol is outward sign of Basquiat's slide, the danger of fame-mongering for Morrison, and Valerie Solanas's misogynist nemesis. In each case, the more valorised figure is at first twinned with Warhol when drawn into his orbit. Eventually, the film's narrative contrasts the main subject against what the diegetic Warhol represents. In each case, Warhol becomes a metonymic representation of a larger organising factor: the economic/personality-driven entertainment industry, phallocentric hegemony, art's dead end, etc. The demonisation of Warhol in recent bio-pics is a good starting point for examining how his image is being interpreted by the mainstream media. It is clear that in this particular forum, Warhol's impact is understood only negatively. The purpose of this study will be to demonstrate how uncomfortable the creative arts world in general, and narrative film-making in particular, is with the "empty" legacy of Warhol and his Factory, and how the reactions against it illustrate a fear of Warhol's anti-humanist, subject-less project. It is fascinating that in the feature films, Warhol appears solely as a character in other people's stories rather than as the focus of biographical treatment. Warhol's very conscious emptying-out project has made nearly impossible any effort to deal with him and his legacy in any traditional narrative manner. Warhol's public persona -- simple, boring, derivative, and unheroic -- is directly at odds with the conventional "artist-hero" subjects necessary to the bio pic genre. This type is seen most typically in the old potboilers The Agony and the Extasy, about Michelangelo, and Lust for Life, about Van Gogh, as well as the more recent Artemisia about Artemisia Gentileschi. The very fact of Andy's posthumous film career fits neatly into his performative œuvre as a whole, and is easily interpreted as an extension of his life-long project. Warhol's entire self-imaging stratagem steadfastly affirmed that there is no center to illuminate -- no "real" Andy Warhol behind the persona. Warhol constantly disavowed any "meaning" beyond the surface of his art works, and ascribed it no value beyond market price. He preferred methods and forms (advertising, silk-screening, and film-making) that were easy for his Factory workers to execute and endlessly duplicate after his vague orders. Further, he ascribed no importance to his own bodily shell as "artist Andy Warhol". In an act of supreme self-branding, Warhol sent actors to impersonate him at lectures (most famously at University of Utah, who demanded he return the lecture fee), since he was only a packaged, reproducible product himself. In Warhol's art, there is no hand-made integrity, no originality, no agonised genius in a garret. He displays none of the traits that traditionally have allowed artists to be called geniuses. Warhol's studio's automation, the laying bare of the cheapest and slickest aspects of the culture industry, has long been the most feared facet of Warhol's artistic legacy. It is beside the point to argue that Warhol's meaninglessness is thematised to the degree that it has meaning. Warhol's erasure of all humanistic "aura" clearly remains threatening to a great number of artists, who rely heavily on such artistic stereotypes. Basquiat In 1996's Basquiat, painter/director Julian Schnabel used the dead painter as a proxy for telling his "I was there" version of the 80s New York art scene. In Schnabel's rather heavy-handed morality tale, young African-American painter Jean-Michel Basquiat's meteoric burn-out career is treated as a metaphor for the 80s art world as a whole. Schnabel clearly knows his Vasari. His film's scenario is a barely modified adaptation of humanist/romantic artist mythology. Traces of Vasari's tale of Cimabue's discovery of Giotto, as well as Van Gogh's various misunderstood artist scenarios are laboriously played out. In fact, the first words in the film invoke the Van Gogh cliché, foregrounding Schnabel's myth-making impulse. They are art critic Rene Ricard's, speaking over Basquiat waking up in a cardboard box in Central Park: "everyone wants to get on the Van Gogh boat. ... No one wants to be part of a generation that ignores another Van Gogh, ... When you first see a new picture, you have to be very careful. You might be staring at Van Gogh's ear." This quote sets the tone for Basquiat's art world experience narrative, trotting out every single Van Gogh-inspired legend (with heroin abuse standing in for the cut-off ear) to apply to Basquiat. In fact, the film veritably thematises Romantic cliché. The film's main project is the mythologisation of Jean-Michel and by extension Schnabel. However, by foregrounding the Van Gogh/Basquiat connection in such self-conscious terms, it seems the viewer is supposed to find it "ironic". (The irony is really that this po-mo window dressing is otherwise deeply at odds with the rest of the film's message.) The film suggests that Basquiat is both worthy of the allusion to the great humanistic tradition, and that his special case ("the first great black painter") changes all the rules and makes all clichés inapplicable. Schnabel's art, which is usually described as "Neo-Abstract Expressionist", and particularly his market value, relies heavily on the aura created by previous artists in the macho heroic mold. His paintings take up Pollock's "all over" effect but with de Kooning's jauntier color. He also fastens found objects, most famously broken plates, in a pastiche of Rauschenberg and Jasper Johns. Like Warhol, Schnabel often borrows recognisable motifs. However, instead of advertising and popular culture, Schnabel's come from a more elevated tradition; Old Master paintings appropriated from "legitimate" art history. Needless to say, Julian Schnabel himself has much invested in reaffirming the artist-genius myth that is threatening to be deconstructed by a good number of art critics and historians. Schnabel's agenda is specifically art historical, though no less political. Schnabel, through Basquiat, restores the artist to his proper place as individual creator challenging the outmoded conventions of established art. Warhol, portrayed as the quintessential post-modern artist, represents all that has gone wrong in the art world: superficiality, mass production, commodification, popular culture influence, and the erasure of art history and deep significance. In spite of the film's self-consciousness about the phoniness of the gallery scene, Basquiat's lionisation by it validates a retrograde concept of "pure" artist's vision. Schnabel is attacking what he sees as the deadening effect of post-modernism that threatens Schnabel's own place in art history. Basquiat's escalating drug problem and alliance late in the film with Warhol signals that he has followed the wrong direction, that he is hitting a dead end. The character Milo (Gary Oldman), the Schnabel manqué, sets up the contrast to illustrate Basquiat's slide. Milo is aligned with all that is exemplary in establishment virtues of hearth and home (doting fatherhood, settled domesticity, good living). The wholesome hand-made integrity of Milo/Schnabel's art, in line with traditional definitions of artistic greatness, is deeply at odds with the affected commercialism of Warhol's work. Schnabel's artistic influences show up clearly in his very marked progressive view of art history and clearly named privileged pantheon. In the film, Schnabel is at pains to insert Basquiat and himself into this tradition. The very first scene of the film sees Jean-Michel as a child with his mother at the MOMA, where she is in tears in front of Picasso's Guernica. In the narrative, this is quickly followed by Ricard's Van Gogh quote above. As an adult, Jean-Michel enacts Rauschenberg's edict, to "narrow the gap between art and life". This is illustrated by Jean-Michel not restricting his artistic output to work on canvas in a studio. He graffitis walls, signs table tops à la Rauschenberg, and makes designs on a diner countertop in maple syrup. Later, Jean-Michel is shown painting in his studio walking around the canvas on the floor, in an all-over technique, mirroring the familiar Hans Namuth film of Jackson Pollock. Aligning Jean-Michel with the pre-Warhol, and especially Abstract Expressionist artists, positions Basquiat and Schnabel together against the "dead end" of Warhol's version of Pop. Basquiat and the director have inherited the "right" kind of art, and will be the progenitors of the next generation. Warhol as a "dead end" leads to a discussion of the relationship between artists' procreative sexuality and their art. In the film, Warhol is assumed to be asexual (rather than homosexual), and this lack of virility is clearly linked to the sterility, transitoriness, and barrenness of his art. Schnabel/Milo and Basquiat, in their marked heterosexuality, are the "fathers" of the next generation. In Basquiat's collaboration with Warhol, even Andy understands his own impotence. Warhol says, "I can't teach you anything, you're a natural, are you kidding me?", and most importantly, "you paint out everything I do, Jean-Michel". By privileging Jean-Michel's art (and his own) over Warhol's, Schnabel is clearly trying to paint out the mutation of the Warholisation of art, and paint in his own art historical eugenics. The Doors In a less substantial role but in a similar vein, Warhol also appears briefly in Oliver Stone's 1991 The Doors, as part of a brief "rising fame" montage of New York incidents. Like Schnabel, Stone has a lot to lose from investment in Warhol's spiritual and aesthetic emptiness. Though brief, Warhol's appearance in the film, like in Basquiat, serves as a cautionary tale for its hero. The contrast made between the vacuous Factory crowd and the "authentic" Doors presages the dominant trope for the Warhol character that Schnabel would expand upon later. The Factory sequence dramatises the glamour and seductiveness of the hollow side of fame that may lead Morrison off his spiritual-quest path. The Native American shaman who Jim sees at pivotal points in his life appears at the Factory, warning him not to take the wrong path represented by Warhol. The Doors are at a pivotal moment, the onset of fame, and must act carefully or risk ending up as meaningless as Warhol. Stone's chronicling of the 60s relies heavily on what could be called the humanist ideal of the power of the individual to effect change, raise consciousness, and open minds. Via Stone's simple reductiveness, Warhol represents here the wrong kind of counter-culture, the anti-hippie. By emulating Warhol, the Doors follow the wrong shaman. To Stone, Warhol's superficiality represents all that is dangerous about celebrity and entertainment: the empty, mind-destroying cocaine high of the masses. I Shot Andy Warhol The film I Shot Andy Warhol (1996) problematises the idea put forth in the other films of Warhol as artistic anti-Christ, simply because the film's subject is much more difficult to heroise, and like Warhol does not fit snugly into bio-pic conventions. Like Basquiat, the film also takes the point of view of a protagonist at the edge of Warhol's sphere of influence, here radical feminist and S.C.U.M. (the Society for Cutting Up Men) Manifesto scribe Valerie Solanas, in order to criticise what Warhol represents. Unlike the previous films, here Warhol's character is central to the narrative. Although Warhol clearly represents something very negative to the Solanas character, the film never fully endorses its subject's point of view. That Warhol deserved and needed to be shot for any reason beyond Solanas's personal demons is never established. Perhaps this ambivalence is a flaw of the film, but it is also telling about the problematic legacies of feminism and Pop, two movements that have led to challenges of the hero-artist ideal. In this film, the relationship between Warhol and the main protagonist is extremely complex. Andy and his crowd are presented as clearly odious. Though Valerie comes off as more interesting and sympathetic, she is also still clearly an unhinged oddball spewing specious ideology. Within the film, Valerie's attraction to the Factory scene seems to stem from something her friend, transvestite Candy Darling, says: "if anyone can make you a star, Andy Warhol can". Valerie desperately wants attention for her radicalism (and likely for other psychological reasons, which make radicalism attractive to her, as well), and sees Andy's power for "star-making", especially among the more marginal of society, as something from which she can profit. Valerie's mistake seems to be in confusing the artistic avant-garde with the politically radical. Valerie finds kinship in Warhol's androgyny and lack of enthusiasm for sex, but does not realise immediately that Andy is interested in her play Up Your Ass primarily for its titillation and shock value, and is entirely uninterested in it from a content standpoint. The content/emptiness conflict in Valerie and Andy's "artistic visions" becomes one of the major thematics in the film. Though like Solanas, he finds community with margin-dwellers, Andy is portrayed as far too implicated in and dependent on the so-called culture industry in order to be "Andy Warhol -- Superstar". Andy's interest in the low-life that Valerie represents is, of course, wholly superficial, which enrages her. She sees no worthy theoretical position in the banal contentlessness of Andy's circle. Valerie's manifesto and dramatic works have almost an excess of content. They work to kick people in the balls to get them to open their eyes and see the appalling conditions around them. The Warhol here, like in The Doors, wants people to see empty banality, but has no interest in effecting change. Valerie's play, as read simultaneously in the lesbian coffee shop and at Andy's studio, dramatises this divergence. When Warhol and crowd read the script with dull inflection, inert on the couch, one can imagine the very words being put to use in a Warhol film. When Valerie and friends perform those same words, the passionate engagement and deep meaningfulness -- at least to Valerie -- capture her urgent commitment to her ideas. As Valerie gets more desperate to disseminate her ideas, and thus begins to further alienate the Factory crowd, she starts to see Andy as in fact the bodily symbol of the "man" she wants cut up. Not only does he represent the patriarch of the art world who has dismissed her and has invalidated her vision, but also more broadly the hierarchy and deep structure of Andy's world parallels the consumeristic and image-driven society at large. If Valerie wants to live with integrity within her own code, the "man" must be deposed. On top of the personal gratification she would receive in this act, Solanas would also finally find a world-wide audience for her views. Now we can understand why, when asked by the press why she shot Andy, Valerie tells them "he had too much control over my life." Unhappily, instead of women rising up against their male oppressors to take up their rightful place of superiority, Solanas gets labeled a "lunatic" by the same media and larger establishment which (in this film) proclaim Warhol a genius. Solanas dissolves into a bit-player in the Andy Warhol story. One of the major interests of this film is that it excerpts a player from the limits of that "master narrative" story and allows them their own subjecthood. I Shot Andy Warhol, with its assertive quotational title, seems to want to reinscribe subjecthood to one of the most truly radical of Andy's superstars, reclaiming the value of Valerie's polemics from the emptiness of her anecdotal role in Warhol's biography. Though Valerie clearly sees Andy as her nemesis, the film constructs him as a boring, ineffectual, self-absorbed effete. The great weakness of the film is that their conflict begins to look like a midget wrestling contest. Since both are competing for higher freakdom, the broader implications of either of their projects are only rarely glimpsed. It should be clear by now that for so many, fictional Warhol is not just a problematic figure, but nearly a monstrous one. The film-makers clearly show what elements of Warhol's representative strategy they find so threatening. Schnabel and Stone have the most to lose in the replacement of their value systems (genius investment and 60s macho spirituality) by what they perceive as postmodern de-centredness, and therefore need to attack that threat the most forcefully. Less conservatively, for Harron, Warhol's Pop objectification of everyone, including women, seems to threaten women's hard-won subjectivity through feminism. Warhol, Morrison, Basquiat and Solanas were all artists who played heavily on their roles as outsiders to mainstream society. These films build the film-makers' soapbox on the "right" way to be alienated, bourgeois-hating, and rebellious, and the films assume a sympathetic viewing audience. Even though the interest in Warhol and his flashy milieu probably got at least two of these films made in the first place, it seems clear that even the more independently-minded film establishment would rather align themselves with the romanticised artist bio-pic subject than the black hole they fear Warhol personifies. Perhaps the character Andy Warhol is put to most appropriate use when he is only glimpsed, such as in the films Death Becomes Her, where he appears as one of the party guests for people who have taken the magic potion to live forever, and as part of the 70s glam wallpaper in 54. This kind of "product placement" use of Warhol most succinctly encapsulates the vacant banality he espoused. In these films, Warhol is unburdened by other artists' attempts to fill him up with meaning. Warhol is taken at his word. His easily recognisable and reproducible bodily shell is hollow and superficial, just as he said it was. Warhol, Morrison, Basquiat and Solanas were all artists who played heavily on their roles as outsiders to mainstream society. These films build the film-makers' soapbox on the "right" way to be alienated, bourgeois-hating, and rebellious, and the films assume a sympathetic viewing audience. Even though the interest in Warhol and his flashy milieu probably got at least two of these films made in the first place, it seems clear that even the more independently-minded film establishment would rather align themselves with the romanticised artist bio-pic subject than the black hole they fear Warhol personifies. Citation reference for this article MLA style: Julie Turnock. "Painting Out Pop: "Andy Warhol" as a Character in 90s Films." M/C: A Journal of Media and Culture 2.4 (1999). [your date of access] <http://www.uq.edu.au/mc/9906/warhol.php>. Chicago style: Julie Turnock, "Painting Out Pop: "Andy Warhol" as a Character in 90s Films," M/C: A Journal of Media and Culture 2, no. 4 (1999), <http://www.uq.edu.au/mc/9906/warhol.php> ([your date of access]). APA style: Julie Turnock. (1999) Painting out pop: "Andy Warhol" as a character in 90s films. M/C: A Journal of Media and Culture 2(4). <http://www.uq.edu.au/mc/9906/warhol.php> ([your date of access]).