Th e painter Leonid Domnin distinguished himself in the artistic life of the Republic of Moldova through a prolifi c activity promoted in such fi elds as book graphics, cinematographic art, and the art of caricature. Th e caricature as a genre of plastic creation is professed by the protagonist mainly during the 60s-80s of the last century. Following in the stylistic strands of the time, most of the painter’s humorous-satirical works remain relevant today, attracting attention through skilfully selected scenes, well-directed plastically, and laconic promoted messages. Being made mainly in watercolor and ink, the caricatures elaborated by the plastic artist, highlight the high level of operation of the author with the mentioned materials and the techniques and, at the same time, facilitate his ironic representation of interpersonal relationships, vices, and bad events recorded in the community. Th e humorous-satirical activity of the painter Leonid Domnin, being implanted in resonant graphic sheets, can serve as an original point of reference in the development of current satirical graphics.
{"title":"The caricature in the creation of the plastician Leonid Domnin","authors":"Lucia Adascalița-Crigan","doi":"10.52603/pc22.07","DOIUrl":"https://doi.org/10.52603/pc22.07","url":null,"abstract":"Th e painter Leonid Domnin distinguished himself in the artistic life of the Republic of Moldova through a prolifi c activity promoted in such fi elds as book graphics, cinematographic art, and the art of caricature. Th e caricature as a genre of plastic creation is professed by the protagonist mainly during the 60s-80s of the last century. Following in the stylistic strands of the time, most of the painter’s humorous-satirical works remain relevant today, attracting attention through skilfully selected scenes, well-directed plastically, and laconic promoted messages. Being made mainly in watercolor and ink, the caricatures elaborated by the plastic artist, highlight the high level of operation of the author with the mentioned materials and the techniques and, at the same time, facilitate his ironic representation of interpersonal relationships, vices, and bad events recorded in the community. Th e humorous-satirical activity of the painter Leonid Domnin, being implanted in resonant graphic sheets, can serve as an original point of reference in the development of current satirical graphics.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115093673","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}
Th e artistic tapestry, as a fi eld of decorative arts, knew in the second decade of the XXI century conceptual approaches and complex capitalizations of the thematic area, important deepenings of the morphological and syntactic aspects regarding the process of compositional structuring of the image fi eld and, last but not least, of the unique technological realization of the work. Th e latter, being focused both on the classical methodology of weaving the textile product, and on the mixed technologies of joining the fabric with embroidery, or on achieving the aesthetic expressions and message promoted by the stylistics of assembly and collage, ensured the diversity and the originality of works in the domain. One of the distinguished features of the artistic tapestry of the period is the aesthetic capitalization by a large number of plastic artists of the image through the extensive practice of traditional felt modeling technology, which contributed to achieving chromatically nuanced and subtle expressions of the work.
{"title":"Artistic tapestry from the Republic of Moldova. Years 2011-2020","authors":"C. Spînu","doi":"10.52603/pc22.02","DOIUrl":"https://doi.org/10.52603/pc22.02","url":null,"abstract":"Th e artistic tapestry, as a fi eld of decorative arts, knew in the second decade of the XXI century conceptual approaches and complex capitalizations of the thematic area, important deepenings of the morphological and syntactic aspects regarding the process of compositional structuring of the image fi eld and, last but not least, of the unique technological realization of the work. Th e latter, being focused both on the classical methodology of weaving the textile product, and on the mixed technologies of joining the fabric with embroidery, or on achieving the aesthetic expressions and message promoted by the stylistics of assembly and collage, ensured the diversity and the originality of works in the domain. One of the distinguished features of the artistic tapestry of the period is the aesthetic capitalization by a large number of plastic artists of the image through the extensive practice of traditional felt modeling technology, which contributed to achieving chromatically nuanced and subtle expressions of the work.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130808362","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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