Vìsnik Lʹvìvsʹkoï nacìonalʹnoï akademìï mistectv最新文献

{"title":"Leopold Levytskyy painting of the 1930-th as a part of the Andrey Sheptytsky National Museum of Lviv collection.","authors":"Oksana Zhmurko","doi":"10.37131/2524-0943-2023-50-1-6","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-50-1-6","url":null,"abstract":"Leopold Levytskyy painting of the 1930-th as a part of his painting heritage placed in the Andrey Sheptytsky National Museum of Lviv collection was the main objective of this study. It was marked that he started his education in Krakiv academy of arts at the department of sculpture, starting the third year studied graphic technics, but finished it as a painter. The analyses of genre structure of the collection revealed that it consists of portraits, landscapes, abstractive and genre compositions. Portraits were painted during his staying in Chortkiv. Special attention that was paid to the remarkable self-portrait dated 1935 was caused by it declarative inside idea. In the process of study it was reveal not only preserved art pieces from the museum collection, but also objects that are known through reminiscences and archive documents. Analyzed landscape compositions exposed deep interest of the artist in creating generalized images of cities, towns or villages. Also it was made conclusion that some paintings have controversial dating, but it was stressed that there is not enough objective information for making changing in dating. The results of analyses of abstractive colorful compositions exposed artist’s great enthusiasm in plastic experiments, that was inspired with his interest in non-objective art. As in the case of portraits also it was studied examples of genre painting which are known only from archive photos and descriptions. Obtain results helped to make a comparison between artists graphic of the 1930-th and art pieces of the next periods and uncover several matters, scenes or narratives and compositional methods that could be treated as typical for creative heritage of the master. Analytical interpretation of combining such scenes as “wood-cutters”, “women with a pail”, “cow with a calf” in the same painting composition as “Working day” allowed to make a conclusion that this art piece is of a program importance in artist’s heritage.","PeriodicalId":485343,"journal":{"name":"Vìsnik Lʹvìvsʹkoï nacìonalʹnoï akademìï mistectv","volume":"139 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136369687","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":"he Creative Heritage of Boichukist Artists by Antonina Ivanova and Mykhailo Lezviev (based on materials from the collection of the Lviv National Gallery of Art named after Borys Voznytskyi).","authors":"Anna Bantsekova","doi":"10.37131/2524-0943-2023-50-1-4","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-50-1-4","url":null,"abstract":"Based on the collection of graphic works stored in the funds of the Lviv National Gallery of Art named after Borys Voznytskyi, the article examines the creative work of Mykhailo Boichuk's pupils, artists Antonina Ivanova and Mykhailo Lezviev. In addition to graphic works, photographs from the gallery's archive are used to trace Ivanova's participation in the creation of monumental murals in Odesa together with Mykhailo Boychuk and other artists, and to reveal the participation of Lezviev and Ivanova, together with Leonid Molodozhanyn (the future Leo Mol), in the creation of frescoes and sculptures of monumental buildings in Nalchik in the 1930s. Analysing the artists' graphics, the author draws parallels in the formation of the artists' creative method, focuses on the continuation of the conceptual foundations defined by Mykhailo Boichuk in their work – an appeal to folk art, archaic forms, and national traditions. The author emphasises the holistic and generalised nature of compositional solutions in the works of both artists, which are considered in the context of general socio-cultural trends of the first half of the twentieth century. The difference between the artists' creative style and the programmatic officialdom of the 1930s is pointed out, which affected the life of these artists: they suffered from political repression. Drawing a comparison between the graphic works of A. Ivanova and M. Lezviev, the author emphasises the commonality of expressive means, which are characterised by laconicism, poster-like, flat images, and a tendency to monumentality. Sacred motifs are present in the symbolism and semantics of some of the works, and elements of Christian iconography can be found in the compositional schemes. The themes of love and family harmony acquire a deep generalisation in the artists' works. The introduction of the works of Antonina Ivanova and Mykhailo Lezviyev as a creative tandem into scientific circulation allows us to present Boichukism as a phenomenon in Ukrainian fine art and the significant influence of this artistic movement outside Ukraine.","PeriodicalId":485343,"journal":{"name":"Vìsnik Lʹvìvsʹkoï nacìonalʹnoï akademìï mistectv","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136369475","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":"Fashion's engagement with Politics and the role of Politics in Fashion","authors":"Roksoliana Kvasnytsia","doi":"10.37131/2524-0943-2023-50-1-10","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-50-1-10","url":null,"abstract":"This study aims to identify and analyse the influencing factors on the processes of diffusion between fashion and politics as well as to determine forms and methods of their interaction which now appear to emerge as a separate topic for scientific research (e.g. aestheticism within political life and political dimension of the fashion itself). On the basis of an interdisciplinary approach, politics and fashion are comprehensively analyzed as two important social regulators. This analysis uses historical sources, theoretical and methodological developments of Ukrainian and foreign scientists who studied the process of diffusion between fashion and politics. Such processes of diffusion were identified and considered accordingly within the most significant factors of influence: politics is the dictator of fashion; fashion is a symbol of a political movement; political leaders are dictators of fashion; fashion is the language and weapon of fashion designers. A comprehensive analysis showed that over the centuries in all contries of the world fashion performed the role of an identifier of the social stratification of society, was an indicator of social status, a reflection of political processes. Fashion is considered as an ideological imagery of a political movement and a symbol of the idea represented by an image. Also, functions of fashionable symbols have been revealed. It was determined that national revolutionary movements and wars influence fashion innovations, in particular, the development of patriotic clothing style (national clothing style; revolutionary fashion; military fashion). The process of diffusion is considered based on the analysis of the visual image of political leaders. It has been determined that the visual image plays an important role in the formation of the image of the state, as it is shaped within the consciousness of society and with the help of associative connection. Fashion also plays an important role in the evolution of political identities. Conceptual presentations of fashion collections have been proven to be a spectacular and an effective form of diffusion between fashion and politics. Such shows present a scenographic character of protest and manifest and are powerful and effective in influencing collective political consciousness of a society. Since the visuality is a priority in postmodern culture, one of the relevant topics for further research will be the issue of design and fashion in the field of political imagelogy of the post-war period in Ukraine, which will also encompass topics on development strategies and methods as well as influencing factors and effective tools.","PeriodicalId":485343,"journal":{"name":"Vìsnik Lʹvìvsʹkoï nacìonalʹnoï akademìï mistectv","volume":"144 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136370295","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":"Lviv sculptor Hartmann Witwer and his artistic family from Imst. New archive find and studies.","authors":"Pavlo Bondar","doi":"10.37131/2524-0943-2023-50-1-5","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-50-1-5","url":null,"abstract":"Basing the information of the metric books from the church of the Assumption of the Virgin in Imst (Austria) the Hartmann Witwer date of birth – 22 December 1776 – was specified. Special gratitude is paid to Josef Mair for his assistance in catching out this document that is published for the first time. It was proofed that “Hartmann Witwer” is a true name and surname of sculptor from Austria, who worked in Lviv at the beginning of the XIX century. It was studied out that H. Witwer didn’t have second name as his father Joseph Anton Witwer or his brother Johann Michael Witwer. Using mathematic calculation the mistakes in Lviv documents fixed the date of sculptors’ death as 1825 was find out. The found certificate verified relationship of Hartmann Witwer and Witwer sculptors dynasty from Imst. For the first time it was revealed that Hartmann Witwer was a younger brother of Johann Michael Witwer, and he was not his elder brother or they were not twins as it was considered before. History of Witwers’ artistic family from Imst, members of which during more than one hundred years were making sculptures in the atelier that was inherited from father to son was studied. Directions of sculptural activity of H. Witwers’ grandfathers in the period of their activity and the areal of spreading their works were outlined. Artistic peculiarities of art pieces of the prominent representatives of the family were highlighted. Provably reasons which caused the end of the sculptor dynasty were analyzed in the article. Basing on the special features of the creative process in the family atelier in Imst the hypothesis of principles of cooperation between Hartmann and his brother Johann Michael Witwer in Lviv was proposed.","PeriodicalId":485343,"journal":{"name":"Vìsnik Lʹvìvsʹkoï nacìonalʹnoï akademìï mistectv","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136370540","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":"Pictorial principles in the system of formal connections: the limits of representation in modern Chinese painting","authors":"Volodymyr Tarasov, Wang Weike","doi":"10.37131/2524-0943-2023-50-1-8","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-50-1-8","url":null,"abstract":"The purpose of the article is the study of formal connections in the pictorial system of modern Chinese painting. The authors focus on the analysis of the types of form representation. This makes the question of finding correspondence between artistic forms and reality, which is generalized with the help of figurative author's artistic language, urgent. As a subject of research, the mentioned problem is relevant for modern art studies. The authors show that the concept of \"formal language\" attracts considerable attention in contemporary Chinese art studies. This proves the importance of the study of formal connections for the analysis of both traditional art practices and for innovative artistic searches. Form as a component of the language of modern painting is represented using pictorial principles, which in the context of the conceptual categories of Chinese art history can be summarized within two interrelated groups, namely: expression and aestheticization of form. The first group unites structural questions, which are mostly related in one way or another to the interpretation of the technical features of oil painting. Within the limits of the second group, the issues of figurative (or, according to the terminology used in Chinese art history – spiritual) foundations of the representation of the image are considered. The authors concluded that in modern Chinese oil painting, form as a pictorial principle relies on the imitative nature of artistic generalization. Form as a pictorial principle is connected with the possibility for the artist to \"appropriate\" certain aspects of reality, to make their generalization his own point of view on the world. Within modern Chinese painting, the imitative form has a reflexive status, which is confirmed by a number of transformations in the oil technique. In Chinese painting, this principle has a direct reference to traditional artistic practice.","PeriodicalId":485343,"journal":{"name":"Vìsnik Lʹvìvsʹkoï nacìonalʹnoï akademìï mistectv","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135692375","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}