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

{"title":"Features of the avant-garde directions of European modernism during 1900–1910 in the Ukrainian avant-garde","authors":"A. Puzyrkova","doi":"10.33838/NAOMA.27.2018.208-214","DOIUrl":"https://doi.org/10.33838/NAOMA.27.2018.208-214","url":null,"abstract":"During 1900–1910, there was a process of intensive cooperation and mutual enrichment between artists in Western European artistic centers and representatives of the Ukrainian and Russian avant-garde. At the same time, the avant-garde, both in Europe and in the territory of the Russian Empire, forms its own face and features that are reflected in the specificity of the artistic expression of specific groups and trends. The art of the 1900–1910 became a turning point in the history of avant-garde in Europe and in the Ukrainian lands, finally affirming the irreversibility of the phenomenon of avant-gardism. The avant-garde movements evolved rapidly during the period from 1900 to 1930, however, despite certain differences in manifestations, the revolutionary gains of cubism, expressionism and futurism became the foundation of the entire Ukrainian avant-garde. The publication, using examples of cubism, futurism and expressionism, which, deriving from European centers, laid the foundation for the artistic expression of the Ukrainian, as well as Russian avant-garde – cubofuturism, suprematism, constructivism, scrutinizes the features of the avant-garde on Ukrainian territories in the European context. For the first time, it is focused on the differences between the manifestations of Cubism, Futurism, and expressionism in the Ukrainian and European avant-garde. There is a lack of formed groups and program documents of cubism, futurism, and expressionism in the Ukrainian fine art of the 1900-1910, with absolute domination of these areas of artistic expression and formulation. It focuses on the specific manifestations of the Ukrainian and Russian avant-garde that emerged on their base, as well as on the specific manifestation of the Ukrainian avant-garde, the neoprimitivism, which includes the school of Mykhailo Boichuk. The publication emphasizes the importance of suprematism in the Ukrainian avant-garde as a classical avant-garde movement, which had such distinct features as breaking with tradition and well-formed ideological principles outlined in the program documents, which was generally not typical for the Ukrainian avant-garde in the fine arts. As it is known, even the ideological foundations of cubofuturism were not clearly formed by its representatives, Oleksandr Bohomazov and Oleksandra Ekster. It is possible to speak of a formed and declared platform only with respect to the Ukrainian literary avant-garde, where it were the futurists who most clearly positioned themselves.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132489311","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":"Methods of teaching painting in the open air. Task «landscape» for students of the workshop of landscape painting of National Academy of Fine Arts and Architecture","authors":"I. Melnychuk","doi":"10.33838/NAOMA.27.2018.145-151","DOIUrl":"https://doi.org/10.33838/NAOMA.27.2018.145-151","url":null,"abstract":"The article reveals the theoretical features of the problem of landscape in the open air as one of the integral genres of fine art. The landscape is an inexhaustible source of reproduction of nature in compositional regularity and ideological plans of the student. The author reviewed and analyzed the main stages of the methodology of teaching landscape tasks in open air for students of landscape workshop of National Academy of Fine Arts and Architecture. The proposed method proves the relevance of the preparation, implementation and structuring of tasks to achieve maximum results. Proposed targets are arranged in chronological order, which gives the opportunity to perform phasing of the work over the implementation of the task \"Landscape\". We emphasized the main goal of the task - high-quality professional training of the student for the implementation of the task set before him – landscape painting in the open air. The efficiency of the method of landscape painting in practice, the sequence of work and the final stage are considered. The attention is focused on the choice of motive for the creation of a peculiar image; each point of the work process is reasoned, examples are given and their analysis is provided . Thus, guided by the laws of landscape painting, the student must capture not only the real landscape, but also to create a new reality; at the same time, all the work must be systematized for the perception and implementation of its image. The author draws attention to the importance of a clear phasing in the work, emphasizing the importance of the task in the open air for the understanding of the basics of artistic knowledge.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134250598","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":"Sketch in the educational program for the draving of the National Academy of Visual Arts and Architecture: Methodical and technical specifics","authors":"N. Zhuravlova","doi":"10.33838/NAOMA.27.2018.105-110","DOIUrl":"https://doi.org/10.33838/NAOMA.27.2018.105-110","url":null,"abstract":"The article reveals the methodical principles of teaching the short-term drawing, the relationship between educational and creative aspects, the differences between, and the advantages of a long-term drawing and a sketch, and also substantiates reasons of its compulsory introduction to the program at the Department of Drawing of the National Academy of Visual Arts and Architecture. It elucidates the problem of requirements and implementation of short-term drawing in the context of development students' ability to use graphic expressiveness and plastic characteristics of a drawing. Finally, it formulates the requirements to tasks for short-term drawings. The sketch is the most individual way of artistic thinking and includes an analysis of creative and psychological selection. Such qualities of a short-term drawing as freshness of the form, instant expression of a complex set of thoughts with the help of a concise graphical language, requires for its perception a certain professional approach, conscious, solid, error-free decision making process and has a right to exist along with independent exhibition works. Sketches help develop creative abilities, with the help of minimal concise tools: lines, tonal spots, strokes. In the short-term drawing there is a constant search for their own technical methods, style, system, content, themes, it is both creative and educational at the same time. A coherent and distinct vision, the distribution of masses and spots, compositions of light and shadow, the solution of spatial composition remain important tasks of a sketch. That is, due to a sketch, a student forms their views on the choice of composition, foreshortening, identifies material and actual conception of an image. Similarly, the perception of a bulk form is experimentally proved that it can only be perceived by changing different sides. Getting a complete picture of an image from one point of view is impossible, that is, without sketches. In the process of working on drawings, one not only adjusts a figurative plan, but often changes all the conception of the artistic image. Therefore, all indications in a long-term drawing without sketches will be ineffective, if there is no figurative idea, and a short-term drawing should be entered into the educational process.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133469551","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":"Architectural framing in the iconostasis as an instrument of commenting on the sacred image","authors":"S. Olianina","doi":"10.33838/naoma.27.2018.44-49","DOIUrl":"https://doi.org/10.33838/naoma.27.2018.44-49","url":null,"abstract":"Before the seventeenth century, the icons in the Ukrainian iconostasis did not have frames as an arch or a blind arcade. The epistyles with images of Deesis of fourteenth – sixteenth century have not frames at all or the figures are divided by the rectangular pictorial frames. However, from the beginning of the seventeenth century, the icons of apostles in a Deesis row had already framing by carved frames like as the blind arcade. This practice quickly spreads and becomes the rule for the representation of apostles at the iconostasis throughout the seventeenth century. The Christian origins of tradition to decorate sacral images by blind arcade to be continue from Byzantium. It is very important that this design of the icons is characteristic of the Byzantine templons. The epistyles of templons from the twelfth – fifteenth century are mostly framing by blind arcade. The same principle of decoration is passed to the Balkans, where the blind arcade also is fixed in the design of the Deesis row. I argue that the blind arcade in the Ukrainian iconostasis in the design of the Deesis row comes from the Balkans The introduction of frames in the form of a blind arcade for icons of the Deesis row created compositional parallels between Ukrainian iconostasis and the iconostasis of the Balkans. This unity of the used compositional formulas reinforced the relationship of the Ukrainian iconostasis with the Balkan, and visually showed its Byzantine origins. On the basis of artistic and written sources, I demonstrate that blind arcade emphasized the eschatological meanings of the Deesis row. It was also a kind of marker that indicated the presence of this row in the multilevel structure of the monumental Ukrainian iconostasis of the seventeenth century.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133549950","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":"Figurative oil painting in China: from Mao to Nu","authors":"S. Ke","doi":"10.33838/NAOMA.27.2018.221-226","DOIUrl":"https://doi.org/10.33838/NAOMA.27.2018.221-226","url":null,"abstract":"The range of problems of the influence of realistic art on the genre diversity in Chinese painting is revealed in the article. The processes caused by the cultural revolution and the following historical events in China are shown by the example of the formation of figurative painting during the twentieth century. A variant of the typology of Chinese figurative painting of the studied period is proposed based on the analysis of the most typical paintings.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133175888","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":"Architectural-artistic formation of the internal environment of public service institutions","authors":"V. Chernyavsky","doi":"10.33838/NAOMA.27.2018.74-79","DOIUrl":"https://doi.org/10.33838/NAOMA.27.2018.74-79","url":null,"abstract":"It has been provided the results of the research on the formation of the internal environment of public service facilities of the social sphere, which include preschool institutions and institutions, educational and medical and preventive establishments, as well as enterprises of commercial and household purposes, which are close to residential development. We create the internal environment of public service facilities in order to provide the rational implementation of functional and technological processes, it also can effectively influence on the level of children and yougth education, its optimal functional and architectural and artistic organization will significantly improve the level of comfort for visitors, improve the aesthetic organization of internal the environment. On the basis of conducted scientific researches and numerous practical developments, the main stages of the architectural and artistic formation of the internal environment of public service institutions were revealed, proposals were made regarding the design of these objects. The first stage is a pre-project analysis of the design of an object for the definition of basic urban and space-spatial solutions, namely, the development of previous conceptual architectural proposals. The second stage of the integrated solution of the internal environment is the design idea of ​​the future project, it contains the fundamental engineering, technical, spatial, functional and other solutions. The third stage reflects the aesthetic organization of the internal environment, which involves the use of monumental decorative art and influences the level of comfort of the premises. It is approved that only in the complex formation of the internal environment, the synthesis of architecture, design and art will make it possible to create a harmonious individual interior space and a comfortable environment for visitors.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"106 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115153640","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":"Mosaic Panel «Scythian Ukraine – Steppe Hellas» of Mykola Storozhenko. Architectonics of the Plastic Space","authors":"O. Solovei","doi":"10.33838/naoma.27.2018.215-220","DOIUrl":"https://doi.org/10.33838/naoma.27.2018.215-220","url":null,"abstract":"This article shows architectonical features of the plastic space in the mosaic panel of Mykola A. Storozhenko «Scythian Ukraine – Steppe Hellas» (1987–1992) and analyzes the composition structure of this work in the context of interrelationships of the multi-faceted imagery and symbolic formation. Nowadays a wide range of such completely concrete formal artistic aspects as composition structure features and architectonics of the plastic space in monumental works of Mykola Storozhenko, in particular his mosaic panels, are still understudied. By making a compositional and constructive analysis the author has revealed interrelationships forming between plastic space elements of the work in the course of the internal imagery interaction and has drawn associative conceptual parallels. The author considers the complex imagery panel system in the context of visual perception focused on symbolic and information as well as national and historical plans of the composition idea. As exemplified by the mosaic panel «Scythian Ukraine – Steppe Hellas» it has been shown that all means of artistic expression aim to establish a stable and architectonically complex plastic system. As a result of research the author of this article proves that the integrity of the imagery is guaranteed by each of the above formal and conceptual composition elements; each of them has its function and creates an irreplaceable and unique constructive imagery fragment in the plastic space of the mosaic panel. On the other hand, the emphasis is made on the fact that only the total effect of interaction of all vectors leads to the powerful multi-layer imagery and symbolic formation which depth the architectonical vertical of archetype and moment of perception comes through and unfolds to the outside. Materials of this analytical research are quite important when solving a question of the theoretical and practical application directly in the creative process in order to improve education programs for composition and as a methodological auxiliary material for students of creative specialties and art expert students.","PeriodicalId":302327,"journal":{"name":"Research and methodological works of the National Academy of Visual Arts and Architecture","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133105118","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}