Kas yra grožis? Grožio samprata ir prigimtis filosofijoje ir psichoanalizėje

Author(s): Neringa Stoškutė / Language(s): English Issue: 19/2013

The main aim of this article is to closely examine the concept of beauty in terms of philosophical analysis adapting theories by Plato, L. Wittgenstein and S. Freud. Moreover, the concept of beauty is also examined in the wider contexts of philosophy, aesthetics and psychoanalysis. The text highlights the use of the term ‘beauty’ in language, presents the relationship between beauty, truth and goodness, as well as ugliness and explores the concept of beauty in relation to the conscious and the unconscious. After analysing the relationship between beauty, pleasure and desire the aim is to establish the true origin of beauty.

DRVO U KIPARSTVU XX. STOLJEĆA (MOORE, ARP, RUŽIĆ)

Author(s): Boris Jovanović / Language(s): Croatian Issue: 1/2006

U povijesti umjetnosti može se izdvojiti nekoliko dominantnih točaka - umjetnika koji su obilježili svoje i buduće vrijeme, dok su drugi samo sljedbenici svojih učitelja oblikovani prema njihovim željama. Taj pigmalionizam ne treba uzimati kao negativnu pojavu jer je omogućio razvoj stilova do maksimuma, ali i prijelaz iz jednoga u drugi.

Dutch-Baltic Relations in Focus

Author(s): Stella Pelše / Language(s): English Issue: 10/2008

The article reports the international symposium "Dutch-Baltic Relations in A Historical Perspective", part of the Holland Days 2008, held in the National History Museum of Latvia on 24-25 April 2008. The event was organised by the National History Museum with the support of the Royal Netherlands Embassy and the Directorate of Baltic Trade and Shipping Companies and brought together experts from various countries around the Baltic Sea to discuss the largely unexplored heritage of Dutch-Baltic connections. The work of the symposium was organised in plenary sessions discussing more general issues of mutual relationships followed by parallel sessions turning to more specific subjects. These included maritime contacts, maritime archaeology, trade and commerce, politics and diplomacy (session A), but the present report focuses on session B, which dealt with art and architecture, painting and modern art and architecture. Participants inccluded: Konrad A. Ottenheym (Utrecht University), Anu Mand (Institute of History, Tallinn University), Anna Ancāne (Institute of Art History, Latvian Academy of Art), Jānis Krēsliņš (National Library of Sweden), Ojārs Spārītis (Latvian Academy of Art), Dirk van de Vijver (Utrecht University), Imants Lancmanis (Rundāle Palace Museum), Jacek Tylicki (Torun University), Anita Meinarte (National History Museum of Latvia), Astrīda Rogule (State Agency "New Three Brothers") and Frederik Erens (Utrecht University).

"Nikns suns" un 20. gadsimta mākslas sakaru vēsture

Author(s): Kristiāna Ābele / Language(s): Latvian Issue: 10/2008

The article reports the conference "Germany and Latvia Between the Two World Wars: Contacts in Life and Art" held on 28 May 2008 as a part of the German Cultural Month. Papers presented various aspects of the subject, including expressionist elements in Latvian art, Latvian artists' deeds in the cosmopolitan Berlin of the early 1920s, the impacts of authoritarian and totalitarian regimes upon art life.

Cara ģenerāļa meita un vācu ekspresionisma vēstures avoti Lietuvā

Author(s): Kristiāna Ābele / Language(s): Latvian Issue: 10/2008

The review examines the book "Ekspresionizmo raitele Mariana Veriovkina" by Lithuanian art historian Laima Laučkaite (Vilnius, 2007), dealing with the noted expressionist painter Marianne Werefkin, known as a member of the German artists' group "Der Blaue Reiter". Although Lithuania has been only one geographical stop in this artist's career (she was born in Tula, Russia, and died in Ascon, Switzerland), significant epistolary material was recently recovered there, integrated in a fact-based and innovative survey of the artist's life.

Nopietns pētījums Baltijas reģiona baznīcu mākslas vēsturē

Author(s): Rūta Kaminska / Language(s): Latvian Issue: 10/2008

The review examines the monograph "Tapyti altoriai XVIII a.-XIX a. I p.: nykstantys Lietuvos bažničiu dailes paminklai" by Lithuanian art historian Dalia Klajumiene (Vilnius, 2006). The book deals with the painter altar retables on the territory of Lithuania and partly also Latvia, created in the 18th and early 19th century.

Art History in Lithuania 2007

Author(s): Dalia Klajumiene / Language(s): English Issue: 10/2008

The overview presents the most important events in Lithuanian art history in the year 2007: group research works, scientific catalogues and albums, popularisation of heritage, guides and conferences.

Kārlis Zāle. Atmiņas

Author(s): Elita Grosmane / Language(s): Latvian Issue: 10/2008

The article introduced by Elita Grosmane presents the memories of Latvian artist and pedagogue Rūdolfs Priede (1890-1949) about the prominent Latvian sculptor Kārlis Zāle (1888-1942), author of the Freedom Monument and Brethren Cemetery - most outstanding examples of monumental sculpture in the inter-war Latvia. The publication of Priede's memories, dedicated to Zāle's 120th anniversary, touch upon several aspects of the artist's personality, his education, early years, interests and influences.

Hronika

Author(s): Kristiāna Ābele / Language(s): Latvian Issue: 10/2008

The overview presents the most important events at the Institute of Art History and Art History Department of the Latvian Academy of Art in the period from January to July 2008.

Latviešu modernistu saskare ar secondo futurismo 20.gs. 20. gados

Author(s): Aija Brasliņa / Language(s): Latvian Issue: 10/2008

Research of this seemingly marginal topic in Latvian art history has revealed new information that significantly enriches the knowledge of local modernists’ international contacts. Relations with Futurism have not been examined as a distinct theme before with only a few testimonies found during the fragmentary research on the late 1910s. But some moments of real contact emerge in the later period of the 1920s with the so-called episode of the Berlin Futurists and Niklāvs Strunke’s (1894–1966) activities in Italy. These are outstanding pages in the history of Latvian modernism characterised by the artists’ direct contacts, participation in the art life of Germany and Italy, creative impulses, concrete artworks and publications. In the manifesto of 1924 Le futurisme mondial. Manifeste à Paris, Filippo Tommaso Marinetti also included the Latvian artists who belonged to the Berlin Futurists group (Ivan Puni, Ksenia Boguslavskaya, Rudolf Belling, etc.), such as Kārlis Zāle (1888-1942), Arnolds Dzirkals (1896-1944?), Romans Suta (1896-1944), Aleksandra Beļcova (1892-1981) and Niklāvs Strunke. In his Berlin period (1921-1923), sculptor Kārlis Zāle joined the international circle of the avant-garde, establishing contacts with the Der Sturm gallery, Novembergruppe, Russian émigré intellectuals and Ivan Puni as well as the Italian futurists Enrico Prampolini, leader of the futurist movement in Berlin, and Ruggiero Vasari, publisher of the journal Der Futurismus, whose private gallery, arranged in casa d’arte style, showed works by the above-mentioned Latvian modernists. Niklāvs Strunke in his Italian period (1923-1927) was the only Latvian modernist who made contacts with futurists on their own soil, becoming involved with Marinetti and representatives of secondo futurismo in Rome, particularly with Anton Giulio Bragaglia’s Casa d’Arte Bragaglia circle and his experimental theatre Teatro degli Indipendenti. Strunke published in the futurist journal Noi etc., lived and worked on the island of Capri, a location favoured by Futurists. To date no precise information has been found as to which of the futurist manifestos were signed by Latvian artists. The accumulated information on contacts with secondo futurismo, embracing both facts of art life and the practice of local modernists enriches the history of Latvian modernism and illustrates the general tendency of the internationalisation of the avant-garde in Europe. Research of this topic shows that there is yet much work to be done and interpretation is not complete.

“Cézanne did not make mistakes” – Notes on the Cézanne Exhibition in Budapest

Author(s): Eszter Földi / Language(s): English Issue: 03/2013

On 17 February 2013, the Museum of Fine Arts in Budapest closed the doors on its exhibition entitled Cézanne and the Past: Tradition and Creativity. With some 180,000 visitors, a 527-page catalogue of scholarly merit featuring articles by the big shots of Cézanne study, and a conference marshalling a bevy of additional invited specialists, the exhibition produced fresh results worthy of further consideration by international Cézanne research. The Burlington Magazine devotes space to the exhibition in Budapest, by John-Paul Stonard in the March issue.2 The professional know-how and well-established connections of the Curator, Judit Geskó resulted in a mature exhibition concept that went beyond a recapitulation or summation of the latest research findings and thought them over in new, creative ways. As such, the exhibition in Budapest fit in comfortably with the string of great Cézanne exhibitions since the second half of the 1970s, both monographic and thematic, that had offered a complex look at the influential oeuvre of the Aix Master.

Primarno slikarstvo

Author(s): Ješa Denegri / Language(s): Serbian Issue: 05/2007

Između biosa i téchne

Author(s): Anto Čabraja / Language(s): Bosnian Issue: 05/2007

Творческата подготовка на бъдещите автори на подвижното изображение

Author(s): Teodor Yanev / Language(s): Bulgarian Issue: 8/2013

Using the principles of didactics, the paper seeks to explain different approaches to training students in Film and TV Cinematography. The ways of selection of the enrolled students and the principles, explaining the approach to this challenging task are examined. Training is a result-oriented process of interaction, where the trainer and the trainee are taking part and in the course of the process, knowledge is ‘gained as a result of the reflective, transforming and regulatory psychoactivity of the student’. The paper draws, to a large extent, on Prof. Mikhail Arnaudov’s work “The Process of Education” as well as on studies by Emile Durkheim and Jean Piaget. It is an attempt at a profound review of the methods and practices in the individual training of young authors in the field of moving images. First of all, a talented person should be found, then developed on the basis of skills and creative reactions to eventually come to making screen works. The entire process ought to be a contemporary presentation and mastering of a creative occupation. This a bit eclectic idea contains the specifics of the profession of a cameraman, a creator of screen images.

Изкуството на социалистическия реализъм като проект на държавата куратор

Author(s): Milena Blazheva / Language(s): Bulgarian Issue: 8/2013

The paper deals with the state’s policy in the management of Bulgaria’s art life in the late 1940s and the early 1950s. The characteristics of this policy were laid out in three party and state documents: Vulko Chervenkov’s report entitled “Marxian-Leninist education and the struggle on the ideological front”, delivered at the 5th Congress of the Bulgarian Communist Party; the resolution adopted by the Central Committee of the Bulgarian Communist Party “On the situation and the immediate tasks of the State Academy of Fine Arts” and Chervenkov’s speech For the Party or against the Party in Fine Arts. These documents underlay the development of the conceptual art project of the state, the art of Socialist Realism, implemented by the agency of the normative art criticism. It was the authority that set the range of themes and storylines as well as the characteristics of the plastic language, i.e. the authorities were the project’s curator and co-author of the artists in their capacity of performers. Furthermore, the state was also a curator in the sense of a custodian, a guardian. The state masterminded the line of development both of the general processes and individual artists, restricting their right to personal aesthetic or moral position.

Обособяване на алтернативната среда като изложбено пространство – от изложбите на открито до скулптурните симпозиуми

Author(s): Roumena Kalcheva / Language(s): Bulgarian Issue: 8/2013

The paper treats the issue of emerging informal settings for displaying sculpture. It seeks to find answers to the question what the specifics of this early hybrid expositional form are and what the dependences are between the environment and the artworks when a sculpture open-air exhibition or a sculpture symposium is considered. Open-air exhibitions, garden sculpture and sculpture symposia with their spontaneity and experimental air are the key to the emergence of the new art. Though the early examples are exceptions rather than principles, their role for establishing new forms in contemporary art is indisputable.

Pałac w Konarzewie

Author(s): Dorota Matyaszczyk / Language(s): Polish Issue: 3/1999

During the 1990s, a discovery was made in the palace erected at the end of the seventeenth century by Andrzej Radomicki, a magnate from Great Poland, of paintings subsequently subjected to conservation conducted under the supervision of Krzysztof Powidzki. Their theme remains differentiated and deeply symbolical. The great dining room contains religious scenes, probably by Karol Dankwart, an acclaimed painter of Swedish origin, showing the holy hermits Paul and Anthony being fed by a raven. A work by the same artist is the depiction (in a great hall on the ground floor) of four Platonic cardinal virtues: Moderation, Valour, Justice and Wisdom, presented as sitting young women. Quite possibly, Dankwart was also the author of a mythological scene in a chamber on the ground floor, featuring the competition between Apollo and Marcius - the considerable degree of the devastation of the original painting makes it impossible to establish the authorship. All the compositions could have been executed in about 1701, when Dankwart painted the newly erected Jesuit church in Poznań (today: the parish church). The polychromy in the alcove on the ground floor was probably completed in 1719; they represent the six planets which exert an impact on human life. All the paintings are accompanied by a complex of excellent stucco work, ascribed to the workshop of Alberto Bianco, employed in the decoration of the aforementioned parish church and a Franciscan church. The stucco in question resembles decorations in Rydzyna Castle. On the other hand, a depiction of a young witch, painted on the ceiling of a corner room, once adjoining the chapel, is totally unique from the viewpoint of iconography. The author showed a young girl, in the costume of a gentlewoman, witnessing the appearance of a devil - a portrayal of the victory of St. Anthony over the might of Satan.

Cmentarz protestancki we Wschowie

Author(s): Marek Chwistek / Language(s): Polish Issue: 3/1999

In 1604, the Wschowa Evangelical congregation was compelled to return a parish church, used since the mid-sixteenth century, to the Catholic parish. The same year, it adapted for cult purposes, two burgher houses situated within the walls of the Old Town. Unfortunately, the area around the ensuing church, located in densely developed urban space, lacked sufficient place for a traditional church cemetery. In this situation, the Protestants came to terms with the municipal authorities, and decided to establish a new necropolis outside the town walls (extra muros), in a suburban landed estate. This was the origin of a Christian cemetery constituting an autonomous whole, the first of its type to the east of the Odra river (1609). Its foundation broke with the almost thousand years–long tradition of locating cemeteries next to churches (ad sanctos et apud ecclesiam ). The only exception were mediaeval cemeteries of the Italian campo santo type, to whose aesthetic programme the Wschowa cemetery referred. The Wschowa Old Town cemetery is invaluable testimony of the historical splendour of the town, and a document containing an enormous amount of information about the life of its residents in the course of more than three centuries. An area of 2,5 hectares, encircled by a wall, contains a considerable number of stone epitaphs, tombstones and cemetery buildings of assorted origin and stylistic features, from Late Renaissance to Third Reich. From the viewpoint of an historian of art, greatest value is represented by Manneristic and Baroque epitaphs; the majority of the 170 objects is well preserved. It is those monuments which are being conserved in the first place (15 objects). Installed in the cemetery walls and in chapels, they comprise complexes connected with burgher families of foremost significance for the history of the town. From the moment of its origin, the cemetery was twice enlarged to the west.After the western wall was pulled down, the epitaphs located there

Prace konserwatorskie Krzysztofa Powidzkiego w barokowych zabytkach Wielkopolski

Author(s): Karolina Prymas / Language(s): Polish Issue: 3/1999

Konserwacja polichromowanych desek z Osieka koło Kościana

Author(s): Krzysztof Powidzki / Language(s): Polish Issue: 3/1999

The author describes the course of the conservation of polychromy boards discovered in 1988 in a manor in Osiek near Kościan. The boards covered the wooden construction of a division wall and a ceiling in a staircase and the first floor of the building. Made of coniferous wood of various width and length, and 2,5-4 cm. thick, the boards are hand-worked, with traces left by the tools - a chisel and a plane. The clearly visible texture of the wood shows numerous indentations around the knots and a slightly uneven surface. Chalk-glue, white and thin grounding, and a painted layer (thin tempera - glutinous glue and oil varnish) were placed on this basis. The colour of the polychromy is composed of ochre: yellow, red and brown, whitening, achieved by means of white lead, white elements - chalk with the addition of white lead, and terra di Siena. The polychromy is dated as the 1730s, and its author remains unknown. The original composition configurations were damaged due to the cutting of the boards and their adaptation to a new function, i. e. that of building material. The extant fragments were used for the completion of five compositions intended for museum display. The boards were rendered whole and the painted layer was made permanent by a group of conservators headed by Krzysztof Powidzki. Today, they are displayed in the palace in Trzebiny near Leszno.