Research and methodological works of the National Academy of Visual Arts and Architecture最新文献

{"title":"ЩОДО ПРОБЛЕМИ ІКОНОГРАФІЧНОГО ПРОТОТИПУ НАРОДНОЇ КАРТИНИ «ОЛЕНКА І ОЛЕНЬ»","authors":"O. Denysiuk, Olena Derevska","doi":"10.33838/naoma.31.2022.58-62","DOIUrl":"https://doi.org/10.33838/naoma.31.2022.58-62","url":null,"abstract":"Статтю присвячено пошукові іконографічного прототипу народної картини «Оленка і олень» (або «Дівчина з оленем»), сюжет якої – один з найпоширеніших у народному мистецтві, проте не досить вивчений. Сюжетне розмаїття українського народного живопису ХХ ст. вимагає від дослідників визначення іконографічних прототипів цілої низки сюжетів народних картин, зокрема й твору «Оленка і олень».","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"213 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114351621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"«ФІЛОСОФІЯ СЕРЦЯ» УКРАЇНСЬКОГО МИСТЕЦТВА ДОВКІЛЛЯ","authors":"N. Lisova","doi":"10.33838/naoma.31.2022.76-82","DOIUrl":"https://doi.org/10.33838/naoma.31.2022.76-82","url":null,"abstract":"Дослідження присвячене аналізові контексту вітчизняного лендарту в системі українського сучасного мистецтва. Вперше, шляхом розгляду ключових філософських течій в Україні, визначено кордоцентричну та антеїстичну складові як основоположні риси творчого пошуку українських художників лендарту.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117116060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"«ГРОМАДСЬКИЙ ФАНДРЕЙЗИНГ» ОДЕСЬКОГО НАЦІОНАЛЬНОГО ХУДОЖНЬОГО МУЗЕЮ","authors":"Alona Pozhodzhuk, Hanna Andres","doi":"10.33838/naoma.31.2022.41-49","DOIUrl":"https://doi.org/10.33838/naoma.31.2022.41-49","url":null,"abstract":"У статті досліджено процес трансформації класичного музею зі сталими проблемами культурно-мистецьких закладів (незадовільний стан будівлі, недофінансування тощо) у відреставрований сучасний заклад з оновленою матеріально-технічною базою, проведеним ребрендингом та власною реставраційною майстернею, наведені приклади можливих засобів залучення фінансування. Серед джерел надходження громадських коштів увага приділена «Клубу Маразлі», підтримці соціально відповідального бізнесу, краудфандинговим платформам, поодиноким внескам відвідувачів, сувенірній продукції та музейним подіям. Визначено фактори, що впливають на успішність фандрейзингу, зокрема, такі як вивчення своєї аудиторії, формування стратегічного плану розвитку, постійний контакт з відвідувачами та звітування перед громадськістю.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125205776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"СТИЛІСТИЧНИЙ ДИСКУРС СУЧАСНОГО УРБАНІЗМУ","authors":"A. Semenenko","doi":"10.33838/naoma.31.2022.26-34","DOIUrl":"https://doi.org/10.33838/naoma.31.2022.26-34","url":null,"abstract":"Нова парадигма сучасного урбанізму – постіндустріальний урбанізм, покликаний до життя цілим спектром соціокультурних проблем, визначених невідповідністю формотворення та організації простору індустріальних міст запитами соціуму з нов ими стандартами життя. У статті досліджується стилістичне втілення новітніх урбаністичних стратегій як матеріалізація низки теоретичних ідей гуманітарних знань і практичних вимо г сучасних мегаполісів.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128138002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ПРИНЦИПИ ОСВІТИ КОНСЕРВАТОРІВ-РЕСТАВРАТОРІВ У СВІТЛІ КОДЕКСІВ ПРОФЕСІЙНОЇ ЕТИКИ","authors":"Теtiana Tymchenko","doi":"10.33838/naoma.31.2022.112-120","DOIUrl":"https://doi.org/10.33838/naoma.31.2022.112-120","url":null,"abstract":"У статті розглянуто проблематику вищої освіти реставраторів. Виявлено ключові моменти формування засад вищої освіти реставраторів, вперше в Україні цитовано праці французького історика й філософа П’єра Лево та інших іноземних авто рів за цією темою. Проаналізовано найважливіший натепер документ – Професійні вказівки Е.С.С.О. – European Confederation of Conservator-Restorers’ Organisations (Європейської конфедерації організацій консерваторів-реставраторів); вперше наведено український переклад його частини, котра присвячена освіті консерваторів-реставраторів. Проведено порівняння основних положень цього документа, присвячених освіті консерваторів-реставраторів, із діяльністю кафедри техніки та реставрації творів мистецтва Національної академії образотворчого мистецтва і архітектури (Київ). Зроблено висновок про необхідність повного перекладу українською мовою документів Е.С.С.О., а також започаткування власного деонтологічного процесу в українській реставрації.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129584820","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ПЛЕНЕРНИЙ ЖИВОПИС У ТВОРЧОСТІ АНДРІЯ ЯЛАНСЬКОГО","authors":"Liudmyla Saltan, O. Lagutenko","doi":"10.33838/naoma.31.2022.69-75","DOIUrl":"https://doi.org/10.33838/naoma.31.2022.69-75","url":null,"abstract":"Стаття присвячена дослідженню творчості народного художника України, професора Андрія Яланського, з’ясуванню місця пленерного живопису у пошуку митцем виражальних засобів художніх творів. Аналізуються методи та засоби, завдяки яким художник передає повітряний простір у краєвиді, вирішує проблеми композиції, колірних і тональних співвідношень . Актуальність теми зумовлена відсутністю ґрунтовних досліджень творчого доробку А. Яланського, чільне місце в якому належить саме пленерному живопису.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"597 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134505363","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"COMPILATION AS A COMPOSITION APPROACH OF CONTEMPORARY ART SCHOOL","authors":"V. Sukhenko, Оleksandr Zasypkin","doi":"10.33838/naoma.30.2021.114-119","DOIUrl":"https://doi.org/10.33838/naoma.30.2021.114-119","url":null,"abstract":"Abstract. It is impossible to create something new in science and art, without first absorbing the experience, knowledge, skills of scientists and artists of the past generation. Even the most original, progressive, and innovative ideas are, in fact, a compilation of previous experience. The compilation technique is one of the main and effective tools of the scientific world. It is also actively used in the creative process of musicians, writers, and filmmakers. The compilation technique is a fairly common phenomenon in the scientific world and art in general, at the same time, its level can be very different, ranging from direct plagiarism to forms of synthesis, the traces of which are very difficult to detect. There are separate genres in art, based on compilation, for instance, a «remake» in cinematography, a «potpourri» in music, a «historical analog» in visual art, and an «artrunion» in literature. Meanwhile, compilation, as one of the forms of the artist's creative method, is a very \"delicate\" and \"vulnerable\" matter, sometimes causing a lot of controversy among specialists, since there is no tool that could accurately measure the degree of compilation bordering on plagiarism. If in the scientific world author indicates a list of compilation material, writing an article, then in case of an artist, we will not see it due to specifics of his work. The path of an artist, in terms of the embodiment of an artistic conception, is in many ways spontaneous, and intuitive. On this path, it is very difficult for him to isolate his authorship from the experience of other artists, and as a result, his work is a kind of conglomerate of synthesis. In our study, we consider the compilation technique mainly on the example of the methods of a children's art school work, taking into account the age of a student. At the same time, the compilation technique is a universal method of composition that can be effectively used by teachers in the creative development process. Meanwhile, the compilation technique is a frequent subject of disputes during the competitive selection of creative works and today requires a deeper analysis and public discussion.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124653368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE ROLE OF CUSTODIAN IN THE FORMATION OF ART WORKS COLLECTION (on the example of educational and methodological funds of the Drawing Department of the National Academy of Fine Arts and Architecture)","authors":"Yuliya Maуstrenko-Vakulenko","doi":"10.33838/naoma.30.2021.59-65","DOIUrl":"https://doi.org/10.33838/naoma.30.2021.59-65","url":null,"abstract":"Abstract. The article considers the peculiarities of formation of the collection of educational and methodical funds of the Drawing Department of the National Academy of Fine Arts and Architecture (NAFAA). The purpose of the study is to identify the role of the custodian in the process of forming the collection; determination of special professional requirements and specific range of job responsibilities of the keeper of museum collection of the institution of higher art education by studying the history of the collection. On the basis of the study of NAFAA archival materials and conversations with employees of the Academy, the list of persons responsible for the preservation of the collection of educational and methodical funds of the Drawing Department since 1937 has been established. It was found out that the position of the person responsible for the preservation of the collection of educational and methodical funds of the Drawing Department, during second half of the 20th century and the beginning of the 21st century, had different names: Head of the drawing studyroom, Educational master, Master of industrial training, Head of the educational laboratory of the Drawing Department. People who worked with the funds mostly had higher art education (or intended to acquire it): they were practicing artists, graduates of painting, graphic arts, restoration, theory and history of art, pedagogical or architectural faculties. It was noted that the process of transferring art values took place between the responsible employees without any documentary support, and the employees themselves were changing their positions almost annually until the 1990s. It was proved that the absence of appropriate position of funds keeper in the staff schedule of the KSAI-NAFAA, which requires a professional education in art history and knowledge of museum management methods, had a negative impact on the preservation of collection. Thus, the museum, which is planned to be established under the NAFAA in the near future, should become a special structural subdivision. Along with its main activity related to the acquisition, recording, storage, conservation (preservation) and restoration of museum treasures, the NAFAA museum should perform an important educational and methodological function. To the typical duties of the Head keeper of the NAFAA museum collections there should necessarily be the requirement to know the history, methods and techniques of teaching artistic disciplines, as well as to have pedagogical experience.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132388158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE DIMENSION OF «EXPERIMENTAL CULTURE»: ANATOMY, SOCIAL PEDOLOGY AND PHYSIOLOGICAL REFLEXOLOGY AS COMPONENTS OF ART EDUCATION AT THE KYIV ART INSTITUTE","authors":"A. Melnychuk","doi":"10.33838/naoma.30.2021.77-82","DOIUrl":"https://doi.org/10.33838/naoma.30.2021.77-82","url":null,"abstract":"Abstract. The article examines the problems of art education in the 1920s of Kyiv Art Institute in the context of interdisciplinary links and tasks of ideological education. The educational process in art educational institutions, such as Kyiv Art Institute, received its ideological and philosophical basis in the early Soviet period, according to which traditional approaches to art education were deconstructed, curricula were changed, new disciplines were introduced, etc. Understanding the essence of the educational process in this period is the key to understanding the artistic culture of the early USSR in general. In the course of this study, both general scientific methods, such as formal analysis, historical, biographical, typologically systematic, problem and logical, and empirical, as well as cultural and historical, which belongs to art history methods, were used. For the first time, this study highlights the origins and stages of formation of such disciplines as Anatomy, Social Pedology and Physiological Reflexology, which were taught at Kyiv Art Institute in the 1920s of the 20th century. The article makes up for an insufficiency in the data about the history of development and scientific and methodological approach in teaching these disciplines based on the autor’s processing of archival documentation kept in the funds of the Central State Archive Museum of Literature and Art of Ukraine. The aim of the article is to study the curriculum of the Kyiv Art Institute in the 1920s of the 20th century on the basis of primary sources, to analyze new approaches and interdisciplinary connections of the new curriculum, the place and significance of such disciplines as Anatomy, Social Pedology and Physiological Reflexology. The article is based on primary sources and archival data, such as abstracts of lectures on Ukrainian, Pedology, Anatomy, Philosophy, which were listened to by Professor O. K. Bohomazov, were found by the author of the article in the funds of the Central State Archive Museum of Literature and Art of Ukraine.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127597263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"YULII MYKOLAIOVYCH YATCHENKO (1928–2020). MEMORIES OF THE ARTIST [publication of the document]","authors":"Yuliya Maуstrenko-Vakulenko","doi":"10.33838/naoma.30.2021.66-76","DOIUrl":"https://doi.org/10.33838/naoma.30.2021.66-76","url":null,"abstract":"Abstract. The article is a publication of the memories of Yulii Mykolaiovych Yatchenko, a Ukrainian painter, graduate of the Kyiv State Art Institute (KSAI), student of S. Hryhoriev, M. Sharonov, H. Melikhov, and K. Ieleva. Yulii Yatchenko dedicated almost his entire life to pedagogical and organizational work: Director of the Republican Art Secondary School named after T.H. Shevchenko, Professor of the Department of Drawing and Vice-Rector for scientific work of the KSAI, as well as he headed the Directorate of Art Exhibitions of the Ministry of Culture of the USSR. The manuscript work «Memories of the Artist» of Yulii Mykolaiovych Yatchenko was prepared by him for printing in 2014. The manuscript contains two parts: «Memories of the Artist. The Story» and «Work on the Images of Princes and Kings». Now the first part is published, in which the author recalls both his training at the KSAI (now — «the NAFAA») and the methods of work and education of the teachers; describes moments of the creative process over the painting «With the Dream of Peace. Rescuing Works of Dresden Art Gallery by Soviet Troops in 1945» (1959) and other major paintings; revives in memories trips to Dresden and communication with the management of the Dresden Gallery, visits of the Ukrainian delegation for culture to Portugal, creative trips to Lithuania and Latvia, stay in Sedniv and Kanev; as if relives the pleasant moments associated with personal exhibitions in the halls of the National Academy of Fine Arts and Architecture. Yulii Yatchenko also draws attention to the issues of pedagogy, drawing teaching methods, reflects on the needs of creative youth. Finally, the author dives into his childhood memories, verbally describing his family and his ancestors. The feature of «Memories of the Artist» of Yulii Yatchenko is the absence of a rigid chronology and informality of presentation; the artist wrote down his own memories in the sequence in which they surfaced in his memory. After reading the «Memories», there is a feeling of personal communication with Yulii Mykolaiovych Yatchenko. The publication is a unique original testimony of the artist, a representative of that generation, whose creative path began in the difficult postwar period, in times of severe ideological constraints. The material of his memories is useful for teachers, graduate and undergraduate students, as well as connoisseurs of art in general and the creativity of Yulii Mykolaiovych Yatchenko in particular.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131268415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}