Pub Date : 2023-06-30DOI: 10.37131/2524-0943-2023-50-1-12
Svetlana Streltsova
The creative work of the famous Ukrainian artist Oleh Denysenko has been repeatedly recognized abroad and in Ukraine by both representatives of artistic circles and collectors. For the entire period of his artistic practice, no thorough research of his work and experimental searches in graphics has been made, nor has the artist's creative style and graphic language been described. The artist's work was mentioned in some articles, superficially revealed in studies of the creative work of representatives of the Lviv graphic school working in certain graphic techniques and trends. The figure of O. Denysenko has long occupied a significant place among the representatives of Ukrainian printmaking and graphics. This is the case when the artist and his work are more recognized abroad than in Ukraine. Denysenko is a representative of artistic techniques that have existed for more than five centuries, who is not afraid to improve, experiment, and make new searches for graphic embodiment of images and philosophical considerations. The article explores artistic practices and experiments in graphics on the example of the series of graphic works «ecoline». Attention is drawn to the process of searching for new images, methods and visual techniques, as well as to the means of revealing artistic expression. An overview of the stylization, expressiveness of the graphic language and individual manner is given. The possibility of further studying the transformation of graphic images in other techniques and plot compositions is considered. The basis of experimental searches, the emergence of figurative and symbolic interpretations, and the author's innovations are revealed.
{"title":"Embodiment of Modern Graphic Images in the Artistic Experiments of Oleg Denysenko (ecoline)","authors":"Svetlana Streltsova","doi":"10.37131/2524-0943-2023-50-1-12","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-50-1-12","url":null,"abstract":"The creative work of the famous Ukrainian artist Oleh Denysenko has been repeatedly recognized abroad and in Ukraine by both representatives of artistic circles and collectors. For the entire period of his artistic practice, no thorough research of his work and experimental searches in graphics has been made, nor has the artist's creative style and graphic language been described. The artist's work was mentioned in some articles, superficially revealed in studies of the creative work of representatives of the Lviv graphic school working in certain graphic techniques and trends. The figure of O. Denysenko has long occupied a significant place among the representatives of Ukrainian printmaking and graphics. This is the case when the artist and his work are more recognized abroad than in Ukraine. Denysenko is a representative of artistic techniques that have existed for more than five centuries, who is not afraid to improve, experiment, and make new searches for graphic embodiment of images and philosophical considerations. The article explores artistic practices and experiments in graphics on the example of the series of graphic works «ecoline». Attention is drawn to the process of searching for new images, methods and visual techniques, as well as to the means of revealing artistic expression. An overview of the stylization, expressiveness of the graphic language and individual manner is given. The possibility of further studying the transformation of graphic images in other techniques and plot compositions is considered. The basis of experimental searches, the emergence of figurative and symbolic interpretations, and the author's innovations are revealed.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139367724","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}
Pub Date : 2023-06-30DOI: 10.37131/2524-0943-2023-50-1-11
Włodzimierz Gański, Mariya Fleychuk
Conservation of cultural property has been defined as all actions aimed at safeguarding cultural property for the future in order to study, record, retain and restore the culturally significant qualities of the object, site or building with the least possible intervention. Architectural conservation constitutes actions that address the repair, restoration, maintenance and display of historic buildings, enclaves of buildings and sites, as well as their associated accoutrements, such as furnishings and fittings. These actions whether conducted on individual buildings or groups of buildings represent investments in the future of such sites. Such regenerative action at historic buildings and sites usually increases values of adjacent properties and local economic conditions as well. Architectural conservation is widely regarded as the predominant activity within the larger and more diverse field of cultural heritage conservation, which is also referred to as cultural heritage (or resource) management. This field is concerned with the documentation and preservation of all forms of human culture, including tangible artifacts such as architecture, archaeological sites, cultural landscapes, arts and crafts, and other objects of material culture. Architectural restoration and rehabilitation offers new practical, educational and growth stimulus possibilities. In addition, cultural heritage conservation addresses intangible manifestations of human activity, including existing manners and customs (folkways); spiritual practices; and musical, craft and cuisine traditions of indigenous populations, all of which are considered living heritage. The general purview of heritage conservation practice is ever expanding which makes the field both dynamic and open to new participants who bring fresh talent and perspectives to the task. As organized heritage conservation practice expands with each passing year formerly disparate facts and representations of history take on new meaning and significance. In relation to this, both cultural and economic values at heritage sites constantly change. Changes posed by nature and humans on physical cultural heritage ensure constant change as well.
{"title":"The paradigmatic basis of architectural heritage management in the context of the modern philosophy of cultural property conservation","authors":"Włodzimierz Gański, Mariya Fleychuk","doi":"10.37131/2524-0943-2023-50-1-11","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-50-1-11","url":null,"abstract":"Conservation of cultural property has been defined as all actions aimed at safeguarding cultural property for the future in order to study, record, retain and restore the culturally significant qualities of the object, site or building with the least possible intervention. Architectural conservation constitutes actions that address the repair, restoration, maintenance and display of historic buildings, enclaves of buildings and sites, as well as their associated accoutrements, such as furnishings and fittings. These actions whether conducted on individual buildings or groups of buildings represent investments in the future of such sites. Such regenerative action at historic buildings and sites usually increases values of adjacent properties and local economic conditions as well. Architectural conservation is widely regarded as the predominant activity within the larger and more diverse field of cultural heritage conservation, which is also referred to as cultural heritage (or resource) management. This field is concerned with the documentation and preservation of all forms of human culture, including tangible artifacts such as architecture, archaeological sites, cultural landscapes, arts and crafts, and other objects of material culture. Architectural restoration and rehabilitation offers new practical, educational and growth stimulus possibilities. In addition, cultural heritage conservation addresses intangible manifestations of human activity, including existing manners and customs (folkways); spiritual practices; and musical, craft and cuisine traditions of indigenous populations, all of which are considered living heritage. The general purview of heritage conservation practice is ever expanding which makes the field both dynamic and open to new participants who bring fresh talent and perspectives to the task. As organized heritage conservation practice expands with each passing year formerly disparate facts and representations of history take on new meaning and significance. In relation to this, both cultural and economic values at heritage sites constantly change. Changes posed by nature and humans on physical cultural heritage ensure constant change as well.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"62 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139366912","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}
Pub Date : 2023-06-30DOI: 10.37131/2524-0943-2023-50-1-13
R. Sheretiuk
The article examines the artistic and pedagogical achievements of modern Rivne artist Vira Chernienko, which is the first attempt of generalization of the factual material of this problem in Ukraine. The stages of her professional development are outlined, in particular a list of international and all-Ukrainian art events, in which she participated and also it is provided the information about her personal art exhibitions. It is indicated that the art of Vira Andriivna is one of the manifestations of the modern process of promoting ceramic in the spheres of fine art. It is shown, that the artist is extremely approaching to the realization of fine art tasks, because her works have a quite decorative, abstract character, on the first plan of which come out refined tonal and color comparisons, as well as textured effects. It is revealed Vira Chernienko’s gradual distancing from image-thematic and compositional-stylistic stereotypes of the past in interpretations of female images. It is emphasized, that their femininity reveals through passion, sensuality and sexuality. At the same time they are independent, have the potential of a powerful life-giving force. It creates the image of woman as the bosom of nature – the symbol of the fullness of human being. It has been investigated, that her artistic activity Vira Chernienko combines with pedagogical, because more than 20 years she has realized herself effectively as a teacher of the department of fine and decorative art in Rivne State Humanitarian University. A number of students’ diploma theses, which are made under her leadership as a ceramic artist, is described. They attest the influence of Vira Chernienko’s school, namely the ability to reveal the latent artistic potential of ceramic, as well as the ability to create artistic images, which go out of the scope of decorative exploitation and belong to the high fine art. It is emphasized, that perfect dominions of a wide spectrum of artistic possibilities of ceramic in combination with a deep interpretation of the surrounding reality and proper implementation of the tasks of the higher school of professional training of specialists in fine and decorative applied art create the effect of synergy of Vira Chernienko’s creativity.
{"title":"Synergy of the creativity of Vira Chernienko","authors":"R. Sheretiuk","doi":"10.37131/2524-0943-2023-50-1-13","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-50-1-13","url":null,"abstract":"The article examines the artistic and pedagogical achievements of modern Rivne artist Vira Chernienko, which is the first attempt of generalization of the factual material of this problem in Ukraine. The stages of her professional development are outlined, in particular a list of international and all-Ukrainian art events, in which she participated and also it is provided the information about her personal art exhibitions. It is indicated that the art of Vira Andriivna is one of the manifestations of the modern process of promoting ceramic in the spheres of fine art. It is shown, that the artist is extremely approaching to the realization of fine art tasks, because her works have a quite decorative, abstract character, on the first plan of which come out refined tonal and color comparisons, as well as textured effects. It is revealed Vira Chernienko’s gradual distancing from image-thematic and compositional-stylistic stereotypes of the past in interpretations of female images. It is emphasized, that their femininity reveals through passion, sensuality and sexuality. At the same time they are independent, have the potential of a powerful life-giving force. It creates the image of woman as the bosom of nature – the symbol of the fullness of human being. It has been investigated, that her artistic activity Vira Chernienko combines with pedagogical, because more than 20 years she has realized herself effectively as a teacher of the department of fine and decorative art in Rivne State Humanitarian University. A number of students’ diploma theses, which are made under her leadership as a ceramic artist, is described. They attest the influence of Vira Chernienko’s school, namely the ability to reveal the latent artistic potential of ceramic, as well as the ability to create artistic images, which go out of the scope of decorative exploitation and belong to the high fine art. It is emphasized, that perfect dominions of a wide spectrum of artistic possibilities of ceramic in combination with a deep interpretation of the surrounding reality and proper implementation of the tasks of the higher school of professional training of specialists in fine and decorative applied art create the effect of synergy of Vira Chernienko’s creativity.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139366279","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}
Pub Date : 2021-10-18DOI: 10.37131/2524-0943-2021-46-4
Anastasia Melnichuk
Background. The article considers the stages of formation of anatomical science in two major art institutions of France in the XIX century, the Academy of Painting and Sculpture and the School of Fine Arts. Developments of theoretical works and bases of formation and development of plastic anatomy by known anatomists, anthropologists and artists-scientists of the XIX century are considered. Particular attention was paid to leading scientific and theoretical manuals on plastic anatomy. Excerpts from the works of the leaders of this discipline or researchers of their heritage have been translated from the original language. The methodical principles of teaching plastic anatomy are substantiated and the names of personalities who influenced the formation of plastic anatomy in the Academy and the School of Fine Arts are given. Their scientific work was of great importance for the development of anatomical science at the Academy and the School of Fine Arts. Thanks to them, not only the teaching process but also its spatial and architectural environment becomes important. The genesis of the term "plastic anatomy" is considered. Particular attention is paid to the transition from the term "anatomy" to the artistic term "plastic anatomy", which, in fact, is becoming typical of higher art education. Objectives. The purpose of the study is to highlight the methods of teaching plastic anatomy at the Academy and the School of Fine Arts during the XIX century. Methods. With the help of theoretical, informational methods and generalization method, the obtained research data were systematized and streamlined, the possibility of finding a solution to the problem was revealed and the practicality of the obtained results was evaluated. Results. For the first time in Ukrainian art history, material on the methods of teaching plastic anatomy was collected at the Academy and the School of Fine Arts of the XIX century. Conclusions. Prospects for further research require clarification of the relationship between anatomical practice and the philosophy of pragmatism, as well as a closer examination of some famous personalities (artists and anatomists-scientists) given in the article, who made a great contribution to the development of plastic anatomy.
{"title":"From the classical ideal to the neoclassical aesthetics of the body in the art of post-revolutionary France. A new era of plastic anatomy at the Academy and the School of Fine Arts","authors":"Anastasia Melnichuk","doi":"10.37131/2524-0943-2021-46-4","DOIUrl":"https://doi.org/10.37131/2524-0943-2021-46-4","url":null,"abstract":"Background. The article considers the stages of formation of anatomical science in two major art institutions of France in the XIX century, the Academy of Painting and Sculpture and the School of Fine Arts. Developments of theoretical works and bases of formation and development of plastic anatomy by known anatomists, anthropologists and artists-scientists of the XIX century are considered. Particular attention was paid to leading scientific and theoretical manuals on plastic anatomy. Excerpts from the works of the leaders of this discipline or researchers of their heritage have been translated from the original language. The methodical principles of teaching plastic anatomy are substantiated and the names of personalities who influenced the formation of plastic anatomy in the Academy and the School of Fine Arts are given. Their scientific work was of great importance for the development of anatomical science at the Academy and the School of Fine Arts. Thanks to them, not only the teaching process but also its spatial and architectural environment becomes important. The genesis of the term \"plastic anatomy\" is considered. Particular attention is paid to the transition from the term \"anatomy\" to the artistic term \"plastic anatomy\", which, in fact, is becoming typical of higher art education.\u0000\u0000Objectives. The purpose of the study is to highlight the methods of teaching plastic anatomy at the Academy and the School of Fine Arts during the XIX century. \u0000\u0000Methods. With the help of theoretical, informational methods and generalization method, the obtained research data were systematized and streamlined, the possibility of finding a solution to the problem was revealed and the practicality of the obtained results was evaluated.\u0000\u0000Results. For the first time in Ukrainian art history, material on the methods of teaching plastic anatomy was collected at the Academy and the School of Fine Arts of the XIX century.\u0000\u0000Conclusions. Prospects for further research require clarification of the relationship between anatomical practice and the philosophy of pragmatism, as well as a closer examination of some famous personalities (artists and anatomists-scientists) given in the article, who made a great contribution to the development of plastic anatomy.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134124169","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}
Pub Date : 2019-12-27DOI: 10.37131/2524-0943-2019-42-03
Nataliia Beniakh
The international studio glass movement, which emerged in the 1960s and became an important phenomenon in the recent history of decorative arts, today faces new challenges of today. The movement of studio glass has led to the emergence of a new concept in contemporary art - fine glass, which in recent decades has formed new artistic values. Despite the global nature of the spread of the studio movement, the common vector of the development of art glass in the direction of liberation from industrial dependence poses new requirements and challenges to glass artists, designers, national schools. The desire for imagery and ideology prevails in modern glass. National schools have a clear identity and are distinguished by their own individuality. The International Scientific and Practical Conference-presentation of the creativity of world-famous glass artists “World Studio Glass. Tradition and Experiment” was held within the frames of the XI International Blown Glass Symposium in Lviv. Every three years the artists meet in Lviv, demonstrate their skills on the workshop basis of the only Glass Art Department in Ukraine and tell the public about their experience. Creative meetings took place in the Gallery of Lviv National Academy of Art during the period from October 7 to October 10, 2019. The project was implemented with the support of the Ukrainian Cultural Fund. In the reports, delivered during four days of the Conference, the current issues of the contemporary glass art development and professional education, the formation of creative workshops and artistic groups, the roles of festivals, symposiums in the glass art development, the use of new techniques and technologies in postindustrial eraб, were discussed. Generally, the speakers analysed a wide range of problems and phenomena of the studio glass, shared their own observations and considerable researches of individual technological processes. The participants in the Conference touched in their reports on the important issues of culture dialogue, the development of contemporary studio movement, the impact of the latest technologies on traditional methods of processing. Much attention was paid to the discussion of the main tendencies of glass art development. The speakers concentrated on acute challenges of modernity, which glass artists are faced with, and which are, at the same time, universal for all representatives of contemporary decorative art. The range of works is very wide: from small handicrafts to landscape glass, sculptures, performance, installations and so on. The contemporary glass is utilitarian, duplicated works and original author’s projects. This is a constant balancing between the tradition and new experiments, between the genres and kinds of art.
{"title":"Challenges and prospects for the world studio glass development: based on the results of the International Scientific and Practical Conference-presentation “World Studio Glass. Tradition and Experiment”","authors":"Nataliia Beniakh","doi":"10.37131/2524-0943-2019-42-03","DOIUrl":"https://doi.org/10.37131/2524-0943-2019-42-03","url":null,"abstract":"The international studio glass movement, which emerged in the 1960s and became an important phenomenon in the recent history of decorative arts, today faces new challenges of today. The movement of studio glass has led to the emergence of a new concept in contemporary art - fine glass, which in recent decades has formed new artistic values. Despite the global nature of the spread of the studio movement, the common vector of the development of art glass in the direction of liberation from industrial dependence poses new requirements and challenges to glass artists, designers, national schools. The desire for imagery and ideology prevails in modern glass. National schools have a clear identity and are distinguished by their own individuality. The International Scientific and Practical Conference-presentation of the creativity of world-famous glass artists “World Studio Glass. Tradition and Experiment” was held within the frames of the XI International Blown Glass Symposium in Lviv. Every three years the artists meet in Lviv, demonstrate their skills on the workshop basis of the only Glass Art Department in Ukraine and tell the public about their experience. Creative meetings took place in the Gallery of Lviv National Academy of Art during the period from October 7 to October 10, 2019. The project was implemented with the support of the Ukrainian Cultural Fund.\u0000In the reports, delivered during four days of the Conference, the current issues of the contemporary glass art development and professional education, the formation of creative workshops and artistic groups, the roles of festivals, symposiums in the glass art development, the use of new techniques and technologies in postindustrial eraб, were discussed. Generally, the speakers analysed a wide range of problems and phenomena of the studio glass, shared their own observations and considerable researches of individual technological processes.\u0000The participants in the Conference touched in their reports on the important issues of culture dialogue, the development of contemporary studio movement, the impact of the latest technologies on traditional methods of processing. Much attention was paid to the discussion of the main tendencies of glass art development. The speakers concentrated on acute challenges of modernity, which glass artists are faced with, and which are, at the same time, universal for all representatives of contemporary decorative art. The range of works is very wide: from small handicrafts to landscape glass, sculptures, performance, installations and so on. The contemporary glass is utilitarian, duplicated works and original author’s projects. This is a constant balancing between the tradition and new experiments, between the genres and kinds of art.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129503812","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":"Bulletin of Lviv National Academy of Arts","authors":"","doi":"10.37131/2524-0943-2019","DOIUrl":"https://doi.org/10.37131/2524-0943-2019","url":null,"abstract":"","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"337 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133748150","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}
Pub Date : 2019-07-26DOI: 10.37131/2524-0943-2019-40-5
Mariia Hlushko
This paper analyzes art magazines and other periodicals in the context of the presentation of works by the famous sculptor Emmanuil Mysko, who holds a special place in the fine arts of Ukraine. The research material provides a brief overview of publications in art magazines and other periodicals that thoroughly acquaint the reader with the formation and evolution of Emmanuil Mysko's creative path. The focus is made on a holistic analysis of articles by art historians describing the artist's work, as well as publications containing only specific references to him. A number of well-known national art magazines, newspapers, newsletters, etc. covering the cultural and artistic events were selected for the study, namely, the magazine of the National Union of Artists of Ukraine "Fine Arts", "Art" magazine, "Free Ukraine" newspaper, Bulletin of the Lviv National Academy of Arts , "People's Notebooks", "Art Horizons" and others. The study outlines a number of trends regarding the presentation of material about Emmanuil Mysko, through which it can be argued that each of the authors tried to highlight as much as possible the key aspects of Emmanuil Mysko's activity in the field of monumental and decorative sculpture and to emphasize his contribution to the development of Ukrainian art. It is revealed that the talent, pedagogical and social activity, human qualities of Emmanuil Mysko and its impact on culture and art, have not been neglected by national scientists, art historians, researchers who in their works published on pages of art magazines and other periodicals describe various aspects of the life and work of a prominent Ukrainian sculptor, art critic, teacher, public figure Emmanuil Mysko. The need to create a structured bibliographic index has been identified, which will contain a complete list of articles on E. Mysko published since 1996, since the Bibliographic Index was published by that year. Also the main provisions and conclusions of the article can be used in the formation of the relevant sections of the new Bibliographic Index, which will become a basis for young researchers who will study the work of E. Mysko.
{"title":"Representation of Emmanuil Mysko's works on the pages of art magazines","authors":"Mariia Hlushko","doi":"10.37131/2524-0943-2019-40-5","DOIUrl":"https://doi.org/10.37131/2524-0943-2019-40-5","url":null,"abstract":"This paper analyzes art magazines and other periodicals in the context of the presentation of works by the famous sculptor Emmanuil Mysko, who holds a special place in the fine arts of Ukraine. The research material provides a brief overview of publications in art magazines and other periodicals that thoroughly acquaint the reader with the formation and evolution of Emmanuil Mysko's creative path. The focus is made on a holistic analysis of articles by art historians describing the artist's work, as well as publications containing only specific references to him. A number of well-known national art magazines, newspapers, newsletters, etc. covering the cultural and artistic events were selected for the study, namely, the magazine of the National Union of Artists of Ukraine \"Fine Arts\", \"Art\" magazine, \"Free Ukraine\" newspaper, Bulletin of the Lviv National Academy of Arts , \"People's Notebooks\", \"Art Horizons\" and others. The study outlines a number of trends regarding the presentation of material about Emmanuil Mysko, through which it can be argued that each of the authors tried to highlight as much as possible the key aspects of Emmanuil Mysko's activity in the field of monumental and decorative sculpture and to emphasize his contribution to the development of Ukrainian art. It is revealed that the talent, pedagogical and social activity, human qualities of Emmanuil Mysko and its impact on culture and art, have not been neglected by national scientists, art historians, researchers who in their works published on pages of art magazines and other periodicals describe various aspects of the life and work of a prominent Ukrainian sculptor, art critic, teacher, public figure Emmanuil Mysko. The need to create a structured bibliographic index has been identified, which will contain a complete list of articles on E. Mysko published since 1996, since the Bibliographic Index was published by that year. Also the main provisions and conclusions of the article can be used in the formation of the relevant sections of the new Bibliographic Index, which will become a basis for young researchers who will study the work of E. Mysko.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126057630","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}
Pub Date : 2019-07-01DOI: 10.37131/2524-0943-2019-40-4
Y. Novachynskyi
The peculiarities of artists’ work illumination on online resources as exemplified by Emmanuil Mysko, the sculptor, were considered. The main spheres, covered by online information sources regarding well-known artistic personalities and the importance for formation of complete vision of artist’s personal qualities, his methods of teaching, life and public policies and more, were emphasized. The specifics of publicistic texts in mass media, the variety of the content consisting not only of memoirs or interviews of the artist’s relatives, but which are also supplemented by videos, teleconferences, etc., were analysed. The accent was put on encyclopaedic publications as information sources consisting of verified data only. The outstanding artistic personality of the sculptor Emmanuil Mysko was viewed from the point of the diversity of information presented on different online platforms. Visual data, reference formats, and quotations connected with the artist’s creative work and life as content sources that actualize the importance of the sculptor’s creativity and serve as modern forms of collective commemoration as well, have been analysed.
{"title":"Creative achievements of Emmanuil Mysko on modern online platforms","authors":"Y. Novachynskyi","doi":"10.37131/2524-0943-2019-40-4","DOIUrl":"https://doi.org/10.37131/2524-0943-2019-40-4","url":null,"abstract":"The peculiarities of artists’ work illumination on online resources as exemplified by Emmanuil Mysko, the sculptor, were considered. The main spheres, covered by online information sources regarding well-known artistic personalities and the importance for formation of complete vision of artist’s personal qualities, his methods of teaching, life and public policies and more, were emphasized. The specifics of publicistic texts in mass media, the variety of the content consisting not only of memoirs or interviews of the artist’s relatives, but which are also supplemented by videos, teleconferences, etc., were analysed. The accent was put on encyclopaedic publications as information sources consisting of verified data only. The outstanding artistic personality of the sculptor Emmanuil Mysko was viewed from the point of the diversity of information presented on different online platforms. Visual data, reference formats, and quotations connected with the artist’s creative work and life as content sources that actualize the importance of the sculptor’s creativity and serve as modern forms of collective commemoration as well, have been analysed.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130234302","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}
Pub Date : 2019-07-01DOI: 10.37131/2524-0943-2019-40-3
I. Kostyuk
The article analyzes the problem of using social myths in the system of a totalitarian society, outlines the main mechanisms of their influence on all spheres of society life, scenarios of activity and modifications in modern times. The totalitarian societies of the twentieth century (on the example of the Soviet Union and Germany) created their myths, because without them, totalitarianism is in principle impossible, and also actively used millennial mythological schemes and images already created by the millennium. The modern information society gives rise to new myths, commercially oriented, but the mechanisms of influence are rooted in archaic myth-making and myth-creation of totalitarian states. Objectives – to analyze the mechanisms of the functioning of myths in a totalitarian society, the basic principles of mythologizing the image, the transformation of social myths in modern society. Scientific novelty. All modern theories of social myths can be conditionally divided into two kinds of flows: 1) those that interpret myth as a certain way of expressing the unconscious, to begin even an irrational experience that is experienced subjectively but is unique to the whole community; 2) theories that emphasize his or her ability to form types of thinking and norms of behavior (which is extremely important for totalitarian societies that want to ensure total control over citizens). Results. Since the most researched totalitarian societies today are Soviet and Nazi, it is best to go there according to the models of the existence of mythological paradigms, even when realizing the diversity of these varieties of totalitarian regimes - the Nazi totalitarianism is directed to the pre-Christian past. at the end of the XXI century. the latest social myths have started to play a much larger role than the new weapons. Considering the tangible effect of civilized means of influence on extremely militant states (through a set of economic and political sanctions, access to global financial systems and levers of influence on the politics and economy of other states), it is social myths relayed through all possible media (directly or veiled). ), began to form mass public opinion and even state ideology. It is the mythology that offers a person the key to understanding the situation (social, political, spiritual, emotional) in which they find themselves. The mythology (ideology) of an individual society (or even a particular social group) comprehensively characterizes its representatives, their motivation, and their interest. Myths are a guarantee that a particular community will not be completely destroyed during radical changes. Therefore, in times of social and economic crises, myth gives a person the possibility of unconditional identification with the team. Conclusions. Society and civilization of the twentieth century. modestly retreated to the laws and regulations of mythological consciousness, mythological laws, because for thousands of years man has pre
{"title":"Fundamentals of mythologization of personality in the context of the totalitarian society","authors":"I. Kostyuk","doi":"10.37131/2524-0943-2019-40-3","DOIUrl":"https://doi.org/10.37131/2524-0943-2019-40-3","url":null,"abstract":"The article analyzes the problem of using social myths in the system of a totalitarian society, outlines the main mechanisms of their influence on all spheres of society life, scenarios of activity and modifications in modern times. The totalitarian societies of the twentieth century (on the example of the Soviet Union and Germany) created their myths, because without them, totalitarianism is in principle impossible, and also actively used millennial mythological schemes and images already created by the millennium. The modern information society gives rise to new myths, commercially oriented, but the mechanisms of influence are rooted in archaic myth-making and myth-creation of totalitarian states.\u0000Objectives – to analyze the mechanisms of the functioning of myths in a totalitarian society, the basic principles of mythologizing the image, the transformation of social myths in modern society.\u0000Scientific novelty. All modern theories of social myths can be conditionally divided into two kinds of flows: 1) those that interpret myth as a certain way of expressing the unconscious, to begin even an irrational experience that is experienced subjectively but is unique to the whole community; 2) theories that emphasize his or her ability to form types of thinking and norms of behavior (which is extremely important for totalitarian societies that want to ensure total control over citizens).\u0000Results. Since the most researched totalitarian societies today are Soviet and Nazi, it is best to go there according to the models of the existence of mythological paradigms, even when realizing the diversity of these varieties of totalitarian regimes - the Nazi totalitarianism is directed to the pre-Christian past. at the end of the XXI century. the latest social myths have started to play a much larger role than the new weapons. Considering the tangible effect of civilized means of influence on extremely militant states (through a set of economic and political sanctions, access to global financial systems and levers of influence on the politics and economy of other states), it is social myths relayed through all possible media (directly or veiled). ), began to form mass public opinion and even state ideology. It is the mythology that offers a person the key to understanding the situation (social, political, spiritual, emotional) in which they find themselves. The mythology (ideology) of an individual society (or even a particular social group) comprehensively characterizes its representatives, their motivation, and their interest. Myths are a guarantee that a particular community will not be completely destroyed during radical changes. Therefore, in times of social and economic crises, myth gives a person the possibility of unconditional identification with the team.\u0000Conclusions. Society and civilization of the twentieth century. modestly retreated to the laws and regulations of mythological consciousness, mythological laws, because for thousands of years man has pre","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130853886","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}
Pub Date : 2019-07-01DOI: 10.37131/2524-0943-2019-40-11
Yehor Titenkov
Topical issues of the development of environmental technologies and it’s application in contemporary art have been explored, with particular emphasis on sculptural practices and land-art objects. In fact, it has been found that the Ukrainian scientists have addressed rather indirectly to the problem of environmental trends in the context of contemporary art objects. It should be noted that the vast majority of research is limited to the generic characteristics of eco-design and does not focus on the artistic and stylistic features of this phenomenon in general and in art in particular. The historical aspect of the interconnections of scientific and technological progress, exacerbation of environmental issues and the evolution of artistic practices of twentieth century art is revealed. It was found out that these processes were consonant and synthesized. Representative contemporary art projects that can be attributed to environmental art were outlined, their characteristic artistic features were clarified and the main directions of eco-art were determined. The influence of the latest technologies on enhanced dynamics and the adoption of eco-style as a kind of counteraction to the processes of digitalization of modern culture as a whole are analyzed. In particular, it has been traced how environmental technologies are used today in three-dimensional art objects, and how well-known artists work with the most actual issues of the 21st century. Two main vectors of eco-sculpture have been identified: complex objects using technology and land-art projects, which are mainly focused on philosophical concepts and issues of human harmony with nature. However, it has been proved that these two areas are of equal value and extremely relevant in the dynamic artistic processes of today, and also have considerable potential and prospects for further development in view of the increasing aggravation of environmental problems in the modern world.
{"title":"Application of eco-technologies in modern sculpture and land-art objects","authors":"Yehor Titenkov","doi":"10.37131/2524-0943-2019-40-11","DOIUrl":"https://doi.org/10.37131/2524-0943-2019-40-11","url":null,"abstract":"Topical issues of the development of environmental technologies and it’s application in contemporary art have been explored, with particular emphasis on sculptural practices and land-art objects. In fact, it has been found that the Ukrainian scientists have addressed rather indirectly to the problem of environmental trends in the context of contemporary art objects. It should be noted that the vast majority of research is limited to the generic characteristics of eco-design and does not focus on the artistic and stylistic features of this phenomenon in general and in art in particular. The historical aspect of the interconnections of scientific and technological progress, exacerbation of environmental issues and the evolution of artistic practices of twentieth century art is revealed. It was found out that these processes were consonant and synthesized. Representative contemporary art projects that can be attributed to environmental art were outlined, their characteristic artistic features were clarified and the main directions of eco-art were determined. The influence of the latest technologies on enhanced dynamics and the adoption of eco-style as a kind of counteraction to the processes of digitalization of modern culture as a whole are analyzed. In particular, it has been traced how environmental technologies are used today in three-dimensional art objects, and how well-known artists work with the most actual issues of the 21st century. Two main vectors of eco-sculpture have been identified: complex objects using technology and land-art projects, which are mainly focused on philosophical concepts and issues of human harmony with nature. However, it has been proved that these two areas are of equal value and extremely relevant in the dynamic artistic processes of today, and also have considerable potential and prospects for further development in view of the increasing aggravation of environmental problems in the modern world.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132850854","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}
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