Pub Date : 2023-09-01DOI: 10.52603/arta.2023.32-1.11
A. Trifan
Modernism represents one of the most global styles in the history of world culture, dominating almost the entire 20th century. In this context, the Republic of Moldova is no exception having a significant modernist heritage. Numerous projects, materialized in imposing public buildings, are important landmarks in the perception of the identity of our country’s capital during the soviet period. Their research leads to the revelation of the spirit of modernism and of the whole impression of the architectural objects of that period, and last but not least, to the awareness of their real value. Thus, the State Circus attracts the public attention through its artistic qualities: the proportions, the rigorous rhythm of the pillars on the facade, the plastic decorations, as well as through the particularity of representing the historical era in which it was built. The authors of the project, architects S. Şoihet and A. Kiricenko, introduce an expressive volumetric composition into the urban structure, whereas the plastic artists V. Rotari, P. Obuh, L. Yantsen and E. Saakov are preoccupied with emphasizing the playful character of the edifice. Legally unprotected until recently, the architecture of the edifice was in danger of being seriously altered by inappropriate and irreversible interventions. The first step in saving the socialist modernist architectural object is made by the B.A.C.U. Association, which, arguing about the importance of the edifice in the urban context succeeds in including it in the Register of State-protected monuments.
现代主义是世界文化史上最具全球性的风格之一，几乎主导了整个 20 世纪。在此背景下，摩尔多瓦共和国也不例外，拥有重要的现代主义遗产。在苏维埃时期，许多以气势恢宏的公共建筑为载体的项目都是我国首都形象的重要标志。通过对这些项目的研究，人们可以领悟到现代主义的精神和那个时期建筑的整体印象，并认识到它们的真正价值。因此，国家马戏团通过其艺术品质吸引了公众的注意力：比例、立面柱子的严谨节奏、造型装饰，以及代表其所处历史时代的特殊性。该项目的作者，建筑师 S. Şoihet 和 A. Kiricenko 在城市结构中引入了富有表现力的体积构成，而造型艺术家 V. Rotari、P. Obuh、L. Yantsen 和 E. Saakov 则专注于强调建筑的趣味性。直到最近，这座建筑仍未受到法律保护，其建筑风格面临着被不适当的、不可逆转的干预措施严重改变的危险。B.A.C.U.协会迈出了拯救这座社会主义现代主义建筑的第一步，该协会论证了这座建筑在城市环境中的重要性，并成功地将其列入国家保护古迹登记册。
{"title":"The State Circus in Chisinau - the first socialist modernist architectural object included in the Register of state protected monuments of the Republic of Moldova","authors":"A. Trifan","doi":"10.52603/arta.2023.32-1.11","DOIUrl":"https://doi.org/10.52603/arta.2023.32-1.11","url":null,"abstract":"Modernism represents one of the most global styles in the history of world culture, dominating almost the entire 20th century. In this context, the Republic of Moldova is no exception having a significant modernist heritage. Numerous projects, materialized in imposing public buildings, are important landmarks in the perception of the identity of our country’s capital during the soviet period. Their research leads to the revelation of the spirit of modernism and of the whole impression of the architectural objects of that period, and last but not least, to the awareness of their real value. Thus, the State Circus attracts the public attention through its artistic qualities: the proportions, the rigorous rhythm of the pillars on the facade, the plastic decorations, as well as through the particularity of representing the historical era in which it was built. The authors of the project, architects S. Şoihet and A. Kiricenko, introduce an expressive volumetric composition into the urban structure, whereas the plastic artists V. Rotari, P. Obuh, L. Yantsen and E. Saakov are preoccupied with emphasizing the playful character of the edifice. Legally unprotected until recently, the architecture of the edifice was in danger of being seriously altered by inappropriate and irreversible interventions. The first step in saving the socialist modernist architectural object is made by the B.A.C.U. Association, which, arguing about the importance of the edifice in the urban context succeeds in including it in the Register of State-protected monuments.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"80 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139346091","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 : 2023-09-01DOI: 10.52603/arta.2023.32-1.16
Angela Savin-Zgardan, Ion Manoli
In the present study, we address the conception of the philosopher and linguist Eugeniu Coseriu regarding culture and the common features between art and language, as constituents of culture, as well as the distinctive feature between them. With respect to culture, therefore - to art and language, the scholar claims that any human activity has its internal norm, a norm that implies a certain morality and a certain ethics of this activity. In art, the norm is not to make any concession to the empirical subject, which means that the universal subject in the person of the artist, who is also an ethical and moral person, should create in the way he/she considers, but not according to the taste of the public or of any party. These norms imply for culture and, respectively, for art and language, constancies such as: universality, non-dogmatics, tradition, national specificity, universal culture, culture in history, the relevance of culture, the duty of man of culture, of art, to the cultural situation of his community in history. In the matter of the differentiated characteristic between art and language, with the exclusion of poetic language, which is considered to be art in the conception of the great linguist, it is about the characteristic of the universal subject that excludes alterity in art, but which is specific to language. However, in the end, as far as art and poetic language are concerned, the existence of alterity is admitted on the condition that „the absolute self” addresses „the internalized self” of the creator in art.
{"title":"Art and Language in the Vision of Eugeniu Coseriu’s Integral Linguistics","authors":"Angela Savin-Zgardan, Ion Manoli","doi":"10.52603/arta.2023.32-1.16","DOIUrl":"https://doi.org/10.52603/arta.2023.32-1.16","url":null,"abstract":"In the present study, we address the conception of the philosopher and linguist Eugeniu Coseriu regarding culture and the common features between art and language, as constituents of culture, as well as the distinctive feature between them. With respect to culture, therefore - to art and language, the scholar claims that any human activity has its internal norm, a norm that implies a certain morality and a certain ethics of this activity. In art, the norm is not to make any concession to the empirical subject, which means that the universal subject in the person of the artist, who is also an ethical and moral person, should create in the way he/she considers, but not according to the taste of the public or of any party. These norms imply for culture and, respectively, for art and language, constancies such as: universality, non-dogmatics, tradition, national specificity, universal culture, culture in history, the relevance of culture, the duty of man of culture, of art, to the cultural situation of his community in history. In the matter of the differentiated characteristic between art and language, with the exclusion of poetic language, which is considered to be art in the conception of the great linguist, it is about the characteristic of the universal subject that excludes alterity in art, but which is specific to language. However, in the end, as far as art and poetic language are concerned, the existence of alterity is admitted on the condition that „the absolute self” addresses „the internalized self” of the creator in art.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139344289","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 : 2023-09-01DOI: 10.52603/arta.2023.32-1.17
Olena Fedorchuk, Romana Motyl
The article continues the previously started reconstruction of ethnic artistic tradition of beaded decoration in the Ukrainian folk costume. The authors’ vision of the second stage of development of this tradition (the end of the 19th– the middle of the 20th centuries) is presented. It was found that at the second stage of its development, the tradition of beaded decoration in the Ukrainian folk costume went through the phase of creative uplift. Ukrainian folk craftsmen considerably expanded the arsenal of technical as well as artistic and stylistic means of their creative works. The following techniques were used: typesetting, sewing “v prykrip“, stringing, weaving, embroidery, etc. The typology of beaded components of the folk costume expanded significantly. Alongside with overhead jewelry and headdresses, the beaded decoration emerged in the structure of several old and new components of clothes and accessories. By virtue of the implementation of the techniques of weaving and embroidery, artistic stylistics developed further. In the compositions of beaded components of the costume, apart from the motifs of geometric shapes, the motifs of geometrised shapes appeared, as well as the national symbols. The colouring of beaded artworks was significantly enriched. Successful development of all-Ukrainian and local features of folk art continued. The knowledge, accumulated by the authors, will be of a great interest to ethnologists, art historians as well as modern folk craftsmen of beaded artworks.
{"title":"Tradition of Beaded Decoration in the Ukrainian Folk Costume: Reconstruction of the Second Stage (Based on the Materials of Western Regions of Ukraine)","authors":"Olena Fedorchuk, Romana Motyl","doi":"10.52603/arta.2023.32-1.17","DOIUrl":"https://doi.org/10.52603/arta.2023.32-1.17","url":null,"abstract":"The article continues the previously started reconstruction of ethnic artistic tradition of beaded decoration in the Ukrainian folk costume. The authors’ vision of the second stage of development of this tradition (the end of the 19th– the middle of the 20th centuries) is presented. It was found that at the second stage of its development, the tradition of beaded decoration in the Ukrainian folk costume went through the phase of creative uplift. Ukrainian folk craftsmen considerably expanded the arsenal of technical as well as artistic and stylistic means of their creative works. The following techniques were used: typesetting, sewing “v prykrip“, stringing, weaving, embroidery, etc. The typology of beaded components of the folk costume expanded significantly. Alongside with overhead jewelry and headdresses, the beaded decoration emerged in the structure of several old and new components of clothes and accessories. By virtue of the implementation of the techniques of weaving and embroidery, artistic stylistics developed further. In the compositions of beaded components of the costume, apart from the motifs of geometric shapes, the motifs of geometrised shapes appeared, as well as the national symbols. The colouring of beaded artworks was significantly enriched. Successful development of all-Ukrainian and local features of folk art continued. The knowledge, accumulated by the authors, will be of a great interest to ethnologists, art historians as well as modern folk craftsmen of beaded artworks.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139346774","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 : 2023-09-01DOI: 10.52603/arta.2023.32-1.04
Taras Veremeienko
Based on archival documents and drawings of the icon-painting workshop of the Kyiv-Pechersk Lavra in the 18th century, the article analyzes mainly the inscriptions made by the authors and also the Ukrainian element in the Ukrainian baroque. The author presents the level of research on this topic. It is established that the Lavra icon-painting workshop had a high level of teaching the icon-painting science. In 1763, the Lavra workshop was transformed into a “school”. The administrators of the school not only monitored the general conditions, but also taught icon-painting. The students were divided into 2 groups: one group consisted of apprentices, the other of pupils. The students in the Lavra studied according to Western books. On the example of several drawings, the author shows the uniqueness of religious subjects, one of the features of which was to paint the image of saints in a typical Ukrainian manner.
{"title":"Iconography of Ukrainian religious portraits in the drawings of the Lavra icon-painting workshop of the 18th century","authors":"Taras Veremeienko","doi":"10.52603/arta.2023.32-1.04","DOIUrl":"https://doi.org/10.52603/arta.2023.32-1.04","url":null,"abstract":"Based on archival documents and drawings of the icon-painting workshop of the Kyiv-Pechersk Lavra in the 18th century, the article analyzes mainly the inscriptions made by the authors and also the Ukrainian element in the Ukrainian baroque. The author presents the level of research on this topic. It is established that the Lavra icon-painting workshop had a high level of teaching the icon-painting science. In 1763, the Lavra workshop was transformed into a “school”. The administrators of the school not only monitored the general conditions, but also taught icon-painting. The students were divided into 2 groups: one group consisted of apprentices, the other of pupils. The students in the Lavra studied according to Western books. On the example of several drawings, the author shows the uniqueness of religious subjects, one of the features of which was to paint the image of saints in a typical Ukrainian manner.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139344154","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 : 2023-09-01DOI: 10.52603/arta.2023.32-1.07
T. Kara-Vasylieva, Olha Lukovska, Valentyna Kostiukova
The early XX th century is a bright phenomenon in the history of decorative art in Ukraine. This is a period of active cooperation between famous avant-garde artists and folk-art masters. The article examines a unique creative experiment of professional and folk artists implemented in the A. Semigradova`s craft workshops in the village of Skoptsy and N. Davydova`s craft workshops in the village of Verbovka. It was these workshops that had differences in their artistic orientation. The art of the famous folk craftswomen G. Sobachko, P. Vlasenko, G. Tsybulyova, who came from there, is analyzed in the article. The works of the professional artists A. Ekster, K. Malevich, L. Popova, O. Rozanova, N. Genke-Meller also are being studied. The folk craftsmen embroidered artistic works based on their sketches and performed ideas of suprematism in this way. Professional artists paid attention to embroidery as the most expressive type of decorative art. It is indicated that the artistic style of decorative panels, carpets, as well as interior decoration and costume items was a new word in the art and brought Ukrainian embroidery to the highest level of development. Such cooperation contributed to the mutual enrichment of the works of folk-art masters and avant-garde artists. Joint innovative research proves the fact that the Ukrainian embroidery of the early XX century, developed in the context of artistic trends at that time, was a synthesis of decorative and fine arts.
二十世纪初是乌克兰装饰艺术史上一个耀眼的现象。这是著名前卫艺术家与民间艺术大师积极合作的时期。文章探讨了专业艺术家和民间艺术家在斯科普茨村的 A. 塞米格拉多娃手工作坊和韦尔博夫卡村的 N. 达维多娃手工作坊进行的独特创作实验。正是这些手工作坊在艺术方向上存在差异。文章分析了来自这里的著名民间女手工艺人 G. Sobachko、P. Vlasenko、G. Tsybulyova 的艺术。专业艺术家 A. Ekster、K. Malevich、L. Popova、O. Rozanova、N. Genke-Meller 的作品也在研究之列。民间手工艺者根据自己的草图刺绣艺术作品，并以这种方式表现至上主义思想。专业艺术家则将刺绣作为最具表现力的装饰艺术。这表明，装饰板、地毯以及室内装饰和服装的艺术风格是艺术中的一个新词汇，将乌克兰刺绣推向了最高发展水平。这种合作有助于相互丰富民间艺术大师和前卫艺术家的作品。联合创新研究证明，二十世纪初的乌克兰刺绣是在当时艺术潮流的背景下发展起来的，是装饰艺术和美术的综合体。
{"title":"The Avant-Garde Phenomenon in the Ukrainian Textile Art of the XX Century","authors":"T. Kara-Vasylieva, Olha Lukovska, Valentyna Kostiukova","doi":"10.52603/arta.2023.32-1.07","DOIUrl":"https://doi.org/10.52603/arta.2023.32-1.07","url":null,"abstract":"The early XX th century is a bright phenomenon in the history of decorative art in Ukraine. This is a period of active cooperation between famous avant-garde artists and folk-art masters. The article examines a unique creative experiment of professional and folk artists implemented in the A. Semigradova`s craft workshops in the village of Skoptsy and N. Davydova`s craft workshops in the village of Verbovka. It was these workshops that had differences in their artistic orientation. The art of the famous folk craftswomen G. Sobachko, P. Vlasenko, G. Tsybulyova, who came from there, is analyzed in the article. The works of the professional artists A. Ekster, K. Malevich, L. Popova, O. Rozanova, N. Genke-Meller also are being studied. The folk craftsmen embroidered artistic works based on their sketches and performed ideas of suprematism in this way. Professional artists paid attention to embroidery as the most expressive type of decorative art. It is indicated that the artistic style of decorative panels, carpets, as well as interior decoration and costume items was a new word in the art and brought Ukrainian embroidery to the highest level of development. Such cooperation contributed to the mutual enrichment of the works of folk-art masters and avant-garde artists. Joint innovative research proves the fact that the Ukrainian embroidery of the early XX century, developed in the context of artistic trends at that time, was a synthesis of decorative and fine arts.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"596 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139345221","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 : 2023-09-01DOI: 10.52603/arta.2023.32-1.06
Alla Ceastina
On September 26, 2023, we will mark the 150th anniversary of the birth of the outstanding architect of the first half of the XX century A. V. Shchusev (1873-1949). Alekseу Viktorovich was born in 1873 in Chisinau on Leovskaya Street (today Shchusev Street, where the museum of this architect is located). During his 76 years of life, he managed to fully realize his talent in architecture, becoming the author of the masterpiece in the construction of the mausoleum on the Red Square in Moscow. He became a laureate of four Stalin Prizes, and educated more than one generation of talented architects. He also founded the State Museum of Russian Architecture. Researching the many-sided architectural creativity of Academician Shchusev, in the article the author presents only the most important works of this great master which entered in competition. After graduating in 1897 with a gold medal from the Higher Petersburg Art School, A. V. Shchusev was awarded the title of artist-architect with the rank of the 10th class having the right to engage in designing buildings independently. Thus, he took part in architectural competitions for the construction of a new St. Petersburg hospital (19011902), a branch of the state bank in Nizhniy Novgorod (1910-1911), Kazanskiy railway station in Moscow (1913), the Russian pavilion for the XI International art exhibition in Venice (1913 -1914), the shelter for the children of fallen soldiers near the city of Chisinau (1916), etc.
{"title":"Competitive works of A.V. Shchusev (1873-1949) and his participation in the international exhibitions","authors":"Alla Ceastina","doi":"10.52603/arta.2023.32-1.06","DOIUrl":"https://doi.org/10.52603/arta.2023.32-1.06","url":null,"abstract":"On September 26, 2023, we will mark the 150th anniversary of the birth of the outstanding architect of the first half of the XX century A. V. Shchusev (1873-1949). Alekseу Viktorovich was born in 1873 in Chisinau on Leovskaya Street (today Shchusev Street, where the museum of this architect is located). During his 76 years of life, he managed to fully realize his talent in architecture, becoming the author of the masterpiece in the construction of the mausoleum on the Red Square in Moscow. He became a laureate of four Stalin Prizes, and educated more than one generation of talented architects. He also founded the State Museum of Russian Architecture. Researching the many-sided architectural creativity of Academician Shchusev, in the article the author presents only the most important works of this great master which entered in competition. After graduating in 1897 with a gold medal from the Higher Petersburg Art School, A. V. Shchusev was awarded the title of artist-architect with the rank of the 10th class having the right to engage in designing buildings independently. Thus, he took part in architectural competitions for the construction of a new St. Petersburg hospital (19011902), a branch of the state bank in Nizhniy Novgorod (1910-1911), Kazanskiy railway station in Moscow (1913), the Russian pavilion for the XI International art exhibition in Venice (1913 -1914), the shelter for the children of fallen soldiers near the city of Chisinau (1916), etc.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"254 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139344338","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 : 2023-09-01DOI: 10.52603/arta.2023.32-1.05
Sergius Ciocanu
Since the founding of the city in the middle of the 17th century to the middle of the 20th century, Chisinau benefited from several cartographic representations, important for understanding the formation and development of its urban structure. Among the particularly valuable city plans drawn up in the 19th century, we mention those from 1817 and 1834, which on the one hand document the pre-imperial part of the town, and on the other hand present the plan for its territorial expansion. The city plan developed in 1942 by the Aero-Photogrammetric Institute from Bucharest occupies an important place in the cartography of Chisinau. The scale of the plan is 1:2000. It is a particularly valuable graphic document for understanding the urban development of the city of Chisinau from the middle of the 20th century. The plan proposes a careful documentation of the features of the relief, of anthropic interventions in the landscape – ponds/lakes, ditches, paths, roads, railways, bridges, streets, fences, constructions, also containing the first known representation of the historical urban plots.
{"title":"The city of Chisinau in historical plans until World War II.Preliminary considerations","authors":"Sergius Ciocanu","doi":"10.52603/arta.2023.32-1.05","DOIUrl":"https://doi.org/10.52603/arta.2023.32-1.05","url":null,"abstract":"Since the founding of the city in the middle of the 17th century to the middle of the 20th century, Chisinau benefited from several cartographic representations, important for understanding the formation and development of its urban structure. Among the particularly valuable city plans drawn up in the 19th century, we mention those from 1817 and 1834, which on the one hand document the pre-imperial part of the town, and on the other hand present the plan for its territorial expansion. The city plan developed in 1942 by the Aero-Photogrammetric Institute from Bucharest occupies an important place in the cartography of Chisinau. The scale of the plan is 1:2000. It is a particularly valuable graphic document for understanding the urban development of the city of Chisinau from the middle of the 20th century. The plan proposes a careful documentation of the features of the relief, of anthropic interventions in the landscape – ponds/lakes, ditches, paths, roads, railways, bridges, streets, fences, constructions, also containing the first known representation of the historical urban plots.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"84 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139344723","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 : 2023-09-01DOI: 10.52603/arta.2023.32-1.13
Lucia Adascalita
Glebus Sainciuc is known in the artistic and cultural space of the Republic of Moldova, thanks to his pictorial works, papier-mâché masks and remarkable drawing sheets. Initially, the protagonist debuts in the art of easel painting, so as over decades to also enrich his area of interest through a vast activity in the art of masks, the art of social caricature and friendly cartoons. Caricature, as a genre of plastic creation, was practiced by artist Glebus Sainciuc mainly in the late 50s - early 60s of the 20th century. His debut in satirical graphics coincides with the period of time in which he becomes a member of the editorial board of the satire and humor magazine “Chiparus” in 1958. The artist’s activity involves social caricatures that were part of various thematic branches such as culture, social life, national economy, etc. The creator’s efforts were directed towards the elaboration of expressive images with an accentuated metaphorical substrate that originally reflects everyday life. Made in watercolor and ink, the caricatures developed by Glebus Sainciuc highlight the plastic expressions of color and line, while the subject of the image favors the satirical elucidation of some social and cultural realities.
{"title":"The plastic expression of everyday life in the satirical graphics of the artist Glebus Sainciuc","authors":"Lucia Adascalita","doi":"10.52603/arta.2023.32-1.13","DOIUrl":"https://doi.org/10.52603/arta.2023.32-1.13","url":null,"abstract":"Glebus Sainciuc is known in the artistic and cultural space of the Republic of Moldova, thanks to his pictorial works, papier-mâché masks and remarkable drawing sheets. Initially, the protagonist debuts in the art of easel painting, so as over decades to also enrich his area of interest through a vast activity in the art of masks, the art of social caricature and friendly cartoons. Caricature, as a genre of plastic creation, was practiced by artist Glebus Sainciuc mainly in the late 50s - early 60s of the 20th century. His debut in satirical graphics coincides with the period of time in which he becomes a member of the editorial board of the satire and humor magazine “Chiparus” in 1958. The artist’s activity involves social caricatures that were part of various thematic branches such as culture, social life, national economy, etc. The creator’s efforts were directed towards the elaboration of expressive images with an accentuated metaphorical substrate that originally reflects everyday life. Made in watercolor and ink, the caricatures developed by Glebus Sainciuc highlight the plastic expressions of color and line, while the subject of the image favors the satirical elucidation of some social and cultural realities.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139345005","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 : 2023-09-01DOI: 10.52603/arta.2023.32-1.02
The National Art Museum of Moldova keeps in its funds a collection of about 400 Japanese stamps, made in the 18th-19th centuries, this being one of the most numerous collections in the neighboring regions. These prints were acquired by the museum in the years 1973-1987 from private collectors and from some antique shops and private owners in Moscow. Two periods marked the evolution of Japanese engraving - the Ukiyo-e and Meiji eras, which identified the difference between medieval and modern Japan. Made in the color woodcut technique of the ukiyo-e (World in Motion) era, this technique saw its peak development in the Edo period (1614-1868), decisively influencing the development of painting and graphics. Famous representatives of this era were Kitagawa Utamaro, Utagawa Hiroshige, Katsushika Hokusai and Utagawa Kunisada. During the Meiji period or the Period of the Enlightened Kingdom (1868-1912), Japanese woodcuts reflect the social and historical modifications that took place in Japan, by changing the subjects and the motifs of the prints with scenes of gatherings, battles or processions, making the appearance of diptychs, triptychs and even polyptychs , which are dispersed in the museum collection, The most illustrious artist was Toyohara Chikanobu (1838-1912). In the West, Japanese engravings had a major influence on the subsequent developmental trend of European painting, being found in the works of Claude Monet or Vincent van Gogh, who were conquered by the fineness of shadow-light gradation. The art of the impressionists and post-impressionists had been transformed and it proved that simple themes from the daily life of the changing world could be presented in an attractive way.
{"title":"Japanese engraving from the 18th-19th centuries in the collection of the National Art Museum of Moldova","authors":"","doi":"10.52603/arta.2023.32-1.02","DOIUrl":"https://doi.org/10.52603/arta.2023.32-1.02","url":null,"abstract":"The National Art Museum of Moldova keeps in its funds a collection of about 400 Japanese stamps, made in the 18th-19th centuries, this being one of the most numerous collections in the neighboring regions. These prints were acquired by the museum in the years 1973-1987 from private collectors and from some antique shops and private owners in Moscow. Two periods marked the evolution of Japanese engraving - the Ukiyo-e and Meiji eras, which identified the difference between medieval and modern Japan. Made in the color woodcut technique of the ukiyo-e (World in Motion) era, this technique saw its peak development in the Edo period (1614-1868), decisively influencing the development of painting and graphics. Famous representatives of this era were Kitagawa Utamaro, Utagawa Hiroshige, Katsushika Hokusai and Utagawa Kunisada. During the Meiji period or the Period of the Enlightened Kingdom (1868-1912), Japanese woodcuts reflect the social and historical modifications that took place in Japan, by changing the subjects and the motifs of the prints with scenes of gatherings, battles or processions, making the appearance of diptychs, triptychs and even polyptychs , which are dispersed in the museum collection, The most illustrious artist was Toyohara Chikanobu (1838-1912). In the West, Japanese engravings had a major influence on the subsequent developmental trend of European painting, being found in the works of Claude Monet or Vincent van Gogh, who were conquered by the fineness of shadow-light gradation. The art of the impressionists and post-impressionists had been transformed and it proved that simple themes from the daily life of the changing world could be presented in an attractive way.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"40 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139345248","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 : 2023-09-01DOI: 10.52603/arta.2023.32-1.01
Mariana Şlapac
The bastion fortress of Kilia, now non-existent, was designed by the French engineer François Kauffer on October 8-9, 1794. The French specialist received the order to build this fortress in April, 1795 from Sultan Selim III, and the final of the construction took place in 1797. Thus, the old stone fortifications of Kilia were replaced by a rectangular bastion fortress with four corner bastions. The period between 1680 and the Great French Revolution was called the “classic century of military engineering”, when the capabilities of the bastion system were particularly appreciated. The French military architecture of that time massively influenced on the defensive system of several countries. The bastion fortress of Kilia was also designed according to the principles of the French fortification school. Comparing several parameters of the quadrilateral bastion model proposed by the French engineer Vauban with the project made by F. Kauffer, we will notice a certain influence of this model on the bastion fortress of Kilia. Only some proportions and the plan of a corner bastion is due to the configuration of the river line. The Danubian fort also contains other component elements, that belong to the Vauban’s first manner of fortification.
{"title":"The bastion fortress of Kilia and the French fortification school","authors":"Mariana Şlapac","doi":"10.52603/arta.2023.32-1.01","DOIUrl":"https://doi.org/10.52603/arta.2023.32-1.01","url":null,"abstract":"The bastion fortress of Kilia, now non-existent, was designed by the French engineer François Kauffer on October 8-9, 1794. The French specialist received the order to build this fortress in April, 1795 from Sultan Selim III, and the final of the construction took place in 1797. Thus, the old stone fortifications of Kilia were replaced by a rectangular bastion fortress with four corner bastions. The period between 1680 and the Great French Revolution was called the “classic century of military engineering”, when the capabilities of the bastion system were particularly appreciated. The French military architecture of that time massively influenced on the defensive system of several countries. The bastion fortress of Kilia was also designed according to the principles of the French fortification school. Comparing several parameters of the quadrilateral bastion model proposed by the French engineer Vauban with the project made by F. Kauffer, we will notice a certain influence of this model on the bastion fortress of Kilia. Only some proportions and the plan of a corner bastion is due to the configuration of the river line. The Danubian fort also contains other component elements, that belong to the Vauban’s first manner of fortification.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139343572","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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