Restaurarea icoanei pe lemn „Sfântul Apostol Simeon”

Author(s): Alina Geanina Ionescu / Language(s): Romanian Issue: 36/2022

The icon on wood Holy Apostle Simeon, dating from the 19th century and part of the collection of the ASTRA National Museum Complex, benefited from restoration interventions within the ASTRA Center for Heritage. The icon is part of the apostles' frieze at the Church in Comănești, Gorj County. In order to establish a correct diagnosis and restoration interventions, chemical and biological investigations were carried out. Samples taken for chemical investigations were subjected to microscopic examinations and specific micro-chemical tests to identify pigments. The samples taken for the purpose of carrying out the biological analyses led to the identification of the wood species used to make the panel. The restoration operations at the level of the wooden support and at the level of the painting layers consisted of dusting, degreasing, consolidations, groutings and cleanings with solvent mixtures, selective chromatic integration and final varnishing. In the restoration process were involved students from the Conservation and Restoration specialization within the Department of History, Heritage and Protestant Theology of the Faculty of Social and Human Sciences, "Lucian Blaga" University of Sibiu.

მაჩაბლები და სცენისმოყვარეთა მოღვაწეობა ცხინვალში

Author(s): Aleksandre Mgebrishvili / Language(s): Georgian Issue: 11/2024

It must be said that it is unthinkable to talk about the founders and inspirers of the Georgian professional scene without mentioning the merits of another actor, Zaal Machabeli, who spread wings on the stage of Tskhinvali. In the second half of the 19th century, Z. Machabeli moved from the circle of Tskhinvali amateur actors, of that time, to the circle of amateur actors of Gori, where he continued his no less fruitful activity. In general, there was a close friendly relationship between the circles of Tskhinvali and Gori amateur actors from the beginning. From the beginning, amateur actors played an important role not only in the cultural, but also in the public life of Tskhinvali. They always responded to the important events that took place here in a timely manner. Vano leads the circle of St. Petersburg students. He works tirelessly. He translates Shakespeare, Molière, Goldon, in 1879 he directs several Georgian performances in St. Petersburg. The Georgian theatre of the first half of the last century was distinguished by the poverty of the repertoire, so we should consider it quite natural that the theatre owners often turned to Shakespeare. From this point of view, first of all, the work of the great Ilia and Ivane Machabeli, which they contributed to the revival and development of Georgian theatre art, is noteworthy. As N. Kiasashvili points out: It would be a mistake to think that the role of Ilia Chavchavadze and especially Ivane Machabeli as the main translator would end only with the translation of Shakespeare's text into Georgian. The Georgian translations of "King Lear", "Hamlet", "Othello" and "Macbeth", at the same time, represent a unique, deep interpretation of Shakespeare, Ilia and Ivane Machabeli perfectly understood not only the artistic-aesthetic perfection of Shakespeare's work, but also his great and deeply humanistic worldview. And the foundations, it is this worldviewaesthetic kinship with Shakespeare that gave birth to brilliant translations, as well as the excellent Georgian Shakespearean theatre. In 1888, the translation of "Othello" was published as a separate book, which was positively evaluated by Aleksandre Sarajishvili in a letter printed in "Iveria" newspaper. And yet, Zaal Machabeli has a special, distinguished place among the native amateur actors of Samachablo. In the second half of the 19th century and the first decades of the 20th century, you will hardly find any information about the events taking place in the theatre world without mentioning Machabeli's name. Back in 1910, the magazine "Teatri da Tskovreba" named Zaal Machabeli as one of the 12 members of the first Georgian drama troupe on the 30th anniversary of the permanent Georgian theatre troupe.

Modernité et intemporalité chez Brancusi. Brancusi photographe

Author(s): Raluca Cristina Dragomir / Language(s): French Issue: 1/2024

The evolution of the art of photography at the beginning of the 20th century marks an essential step in the transformation of the image into an artistic and documentary vector, illustrating the constant dialogue between technique, creation and society. Throughout his artistic career, Brancusi took photographs of his sculptures, self-portraits and studio shots. He used his camera not only to inventory his artistic production, but also as a true means of expression through which he conducted formal and expressive experiments. These images help us to better understand and appreciate the sculptor’s intentions, thus redefining the way we perceive reality. For the artist, the photos taken in the studio also work as a memory, a reservoir of forms which keeps previous creations within immediate reach - but which also gives birth to novelty.

Representation of Illness, Disability, and Ageing in Visual Arts, Dance, and Theatre as a Way of Combating Social Exclusion

Author(s): Magdalena Grenda / Language(s): English Issue: 3/2024

Since the mid-20th century, there has been a noticeable shift of interest in topics related to disability, illness, old age and the discourse of exclusion, both in practice and theory. Numerous artists, who often employed diverse strategies and aesthetics in their works, would confront similar themes, engaging in activities aimed at counteracting various forms and manifestations of social ostracism. This article describes and analyzes selected projects by Polish representatives of critical art and independent theatre which address these issues. The primary aim of this text is not to catalogue as many artistic undertakings as possible but to highlight a certain trend and demonstrate the significance and purpose of art that boldly explores disability, illness, and deteriorating, ageing and dying bodies. Such themes are often taboo in consumer culture, while the task of art is to expose the mechanisms of exclusion and stigmatization and to draw public attention—often in a highly debatable manner—to topics that are omitted in the official discourse. The artistic projects discussed in the text demonstrate that persons with disabilities can be successful artists, dancers, performers, and actors.

Koncepcja sztuki postprodukcjonistycznej Nicolasa Bourriauda wobec kultury didżejskiej

Author(s): Damian Binkowski / Language(s): Polish Issue: 3/2024

The purpose of the article is primarily to demonstrate that the conceptof “DJ” used in Bourriaud's writings should be considered as a historical cate-gory. This allows us to define its scope of meaning as broadly as possible and,consequently, to set the context that proves to be as important for the conceptof post-productionist art itself as the thought of Michel de Certeau. Because theproducts of the visual arts can be described in terms of categories derived fromthe auditory domain.

Scena zarazy czy obraz miłosierdzia Tobiasza? Z badań ikonograficznych nad twórczością Alexandre’a Ubeleskiego

Author(s): Barbara Hryszko / Language(s): Polish Issue: 1/2025

The study of form, genre and iconography has made it possibleto identify the hitherto obscure subject of Alexandre Ubeleski’s drawing showing a dramaticscene with figures lying on the ground. The plague theme, previously applied in its context,was ruled out and the biblical theme of Tobias’s act of burying the slain has been confirmed.The discovery of the model for the drawing: an engraving by Sébastien Bourdon, permittedto date Ubeleski’s sketch to around 1683 and to recognise the content motifs of the imageby setting it in the historical context of 17th-century art. In drawing the sketch, Ubeleskiemphasised the emotions of the figures, whose gestures and facial expressions have beeninterpreted based on the models of Charles Le Brun and John Bulwer. The draughtsman’semphasis on the close relationship between the old man and the youngster made it possible tointerpret the scene as a joint action between the two Tobiases, father and son. This depictionof the young Tobias, which is unique in the iconography of this subject, opens up a space forreflection on an attempt to interpret the content of this fascinating drawing.

Jak naprawdę nazywał się architekt znany w Polsce jako François Arveuf i czego dokonał przed przyjazdem do Warszawy?

Author(s): Małgorzata Omilanowska-Kiljańczyk / Language(s): Polish Issue: 1/2025

The French architect active in Poland forsix years, who in the Polish literature is known as François Arveuf, in reality bore a differentname and surname, so his achievements prior to his arrival in Warsaw proved difficult toestablish. He was born Alexandre Jean Alexis Fransquin and was the illegitimate child of thearchitect Jean Jacques Nicolas Arveuf. Establishing his biographical data made it possibleto reconstruct his not very impressive, but nevertheless noteworthy achievements from theFrench and American periods of his work.

„Współczesne przedmioty do dekoracji wnętrza projektowane i wykonane w Polsce”. Działalność warszawskiej firmy „W. Golińska” w latach 30. XX wieku

Author(s): Agata Lipczik / Language(s): Polish Issue: 1/2025

The text presents hitherto unknowninformation on the activities of the Warsaw-based company “W. Golińska”, a specialist firmtrading in interior furnishings and fine accessories. Established in the 19th century, in theearly 1930s the company underwent a transformation that defined its later position on theluxury goods market. In the process, the shop was relocated from the Grand Theatre buildingto modern premises at Mazowiecka Street, today identified among the flagship examples ofWarsaw modernism in retail interiors, and its opening was advertised with an experimentalfilm Drobiazg melodyjny made by Franciszka and Stefan Themerson. An analysis of the sourcetexts and available iconographic material made it possible to attempt to situate the compa-ny’s activities in the area of Polish applied arts and the art industry of the 1930s. After therelocation, the offer of the “W. Golińska” company clearly shifted towards the promotion ofdomestic manufacturing; this was done in response to an increase in regionalist tendencies.The research has permitted to establish that the then owners of the company, who possessedtheir own experience in the production of utilitarian objects, collaborated with local manu-factures and factories, as well as directly with artists. The commercial nature of the company,the modern approach to business promotion and, above all, the aesthetics of the items onoffer, very much in keeping with the international style, made the company’s activities standout from similar initiatives of the time.

АРХИТЕКТОНСКАТА ПРОДУКЦИЈА НА АРХИТЕКТОТ БОРИС ДУТОВ ВО ПЕРИОДОТ ОД 1921 ДО 1940 ГОДИНА ВО ГРАДОТ СКОПЈЕ

Author(s): Ekaterina Namicheva Todorovska,Petar Namichev / Language(s): Macedonian Issue: 17/2024

Ivan Artemushkin and Boris Dutov were the two most productive architects for Skopje architecture from the interwar period, designing in the two main stylistic concepts, academicism and modernism. In this paper, we will cover the architectural production of Boris Dutov through the presentation of his projects through technical documentation. In the period from 1921 to 1940, Dautov designed more than 433 residential buildings of all kinds and dozens of commercial and public buildings in the city of Skopje. According to the social power of the city's population, most of Dutov's architectural production was on buildings with a modest project repertoire, through which Dutov showed his skill for virtuoso architectural composition, mostly in line with the taste of the commissioners in a modified academic manner.

PRILOZI ZA BIOGRAFIJU KARLA KUŽATKA: ARHITEKTA ZA RADNIČKU KLASU

Author(s): Mirza Džananović / Language(s): Bosnian Issue: 01/2024

Karlo Kužatko is one of the most influential architects who worked in Zenica, whose projects significantly shaped the urban fabric of the city in the second half of the 20th century. This paper provides an overview of Kužatko's completed projects in Zenica and reflects on his conception of the architect's role in designing residential spaces for workers. While the focus of the research is on Kužatko's residential architecture, the paper also reviews other realized projects that, according to the currently available sources, are confirmed as his original works.

Personalities of Painters Vilhelms Purvītis and Imants Lancmanis in the Latvian Art Field in the 20th and 21st Centuries

Author(s): Signe Grūbe / Language(s): English Issue: 1/2023

The Latvian National Museum of Art’s 2022 exhibitions “Purvītis” and “The Art of Imants Lancmanis”, one dedicated to the 150th anniversary of Vilhelms Purvītis and the other a retrospective exhibition of works by Imants Lancmanis, are united by their ambition. It is a testimony to its time and to the personality of the artist. The main aim of this article is to use the sociology of art to portray the influence of two artists, painters and leaders of national art institutions, on the formation of national art perception in society. Two personalities, each working in their own time, but both with strong social capital and habitus – the ability to use it to shape the rules of the Latvian art field and construct national identity.

Just “A Follower with no Visible Characteristics”? Examples of Ernests Štālbergs’ Modernism in the Context of Western Architecture

Author(s): Karīna Horsta / Language(s): English Issue: 1/2023

The view of modernist architecture as a “unified mass” without regional traits or specific developmental trends has sometimes become symptomatic and is threatening to monuments of this style even today. This article aims to introduce the most significant conclusions obtained from the analysis of the architect Ernests Štālbergs’ creative legacy in the context of Western modernist architecture, identifying the means used to localise the style. Formal and stylistically comparative methods were applied for this purpose. Štālbergs’ modernist works reveal three lines of influences – from the German architect Erich Mendelsohn, the French architect Le Corbusier and the Nordic modernism. This does not mean direct appropriations of composition but rather impulses and inspirations. Štālbergs attempted to adapt modernism to local conditions, as he paid attention to the context of surrounding environment and regional traditions. However, he was more interested not in national but in regional identity, thus fitting in a wider cultural space.

Of Still and Moving Images: Stylistics of Hercs Franks’ Early Documentaries

Author(s): Zane Balčus / Language(s): English Issue: 1/2023

Latvian documentary filmmaker Hercs Franks (1926–2013) directed his first films in 1965, the two short documentaries were produced at the Latvian television’s production unit Telefilma-Rīga: “Salty Bread” (Sāļā maize) and “At Noon” (Pusdienā). Both films reflect an intricate practice and aesthetic element of the director – the use of still photography, which for him is both a research tool and a stylistic device present throughout his career. “Salty Bread” includes photographs as a stylistic element allowing the viewer to prolong observation of particular images, whereas in “At Noon” still photographs feature on the films’ credits, but more significant is photography’s use as a research tool for preparing the film. The intermedial studies have explored the interrelationship of different media and used intermediality as a tool for close reading of specific works, among other applications. The connection of cinema and photography represent the potential of intermedial approach through the technological, aesthetic, institutional practices. Specifically documentary cinema in its relation to photography shares additional issues of the meaning of documentality and representation of reality. Through close reading of Hercs Franks’ first films, I would argue that Franks transcends normative documentary function in the use of still photographs [Hallas 2023] and demonstrates the intermedial practice in combining photography and documentary filmmaking.

In honorem Georgeta Stoica – 90

Author(s): Georgiana ONOIU / Language(s): Romanian Issue: 36/2022

Building Information Modelling from Cadastral Plans and Application to an Italian Case Study Building Using Innovative Strategies

Author(s): Massimiliano Pepe,Federica Francesca Tana,Donato Palumbo,Enrico Spacone / Language(s): English Issue: 3/2024

This paper explores the applicability of different methods to construct a Building information System Model (BIM) from 2D plans and, more specifically, cadastral plans. The explored procedures use three different approaches to build BIMs: one manual, one semi-automatic based on Rhinoceros/Grasshopper, and one based on Artificial Intelligence (AI). To analyse the performance of the three methods, the case study of a masonry building located in an Italian historic centre is used. The fastest is the AI-based method, although it has some limitations in automatic recognition of some objects. This latter aspect was further explored by analysing a very large dataset of cadastral plans. The results show good recognition of wall elements, but problems arise in the recognition of other elements, such as doors and windows. The manual method, on the other hand, allowed for the construction of a detailed model of the considered structure. However, the method requires strong user interaction and longer time frames than the AI-based method. The semiautomatic based method requires quite a lot of pre-processing but through an algorithm in Grasshopper a fast and detailed modelling of the structure is obtained. The paper also outlines future scenarios for the full exploitation of cadastral data.

Jan Matejko (1838–1893) – retrospektywa okołofuneralna

Author(s): Paweł Glugla / Language(s): Polish Issue: 44/2024

The text presents the person of Jan Matejko, taking into account his achievements against the background of the situation in Poland at the time, which was under partition, as well as in Krakow, where the master was born, worked, died and was buried. The last tribute the nation paid to Matejko was his solemn funeral at the country’s expense on 7 November 1893. It was attended not only by the people of Krakow, but practically by the whole of Poland. The eminent artist-patriot was remembered by the Polish community, and the foreign press immediately after his death wrote extensively on the achievements of this uncommon Polish artist. Matejko’s death came as a surprise to many, and his funeral, in a monarchical setting, was a great manifestation. Matejko has become a permanent part of the pantheon of the greatest Poles in the artistic and patriotic field. His unparalleled talent and passion for the history of Poland were emphasised. He is a role model for successive generations of Poles. He died at the age of only 55. He was of small stature, but great in spirit. He is permanently inscribed in the pantheon of the most outstanding Poles.

Dailininkas Danielius Rusys

Author(s): Danielius Rusys / Language(s): Lithuanian Issue: 121/2024

Danielius Rusys was born in 1964 in Klaipeda. In 2008 he began his studies in fresco-mosaic at the Vilnius Academy of Arts, and in 2013 he received his Master’s degree in monumental painting. He was a resident of the Užupis Art Incubator. His paintings are dominated by figurative subjects, enriched with juxtapositions of reality and fantasy, the aesthetics of a dream that transcends the usual perception of reality. Known as a non-conformist, his work exalts the content of the subconscious and transforms it on the canvas using a wide range of creative tools: metaphysical painting, surrealist automatism, Dadaist irony, assemblages. Since 1992 he has been exhibiting and participating in group exhibitions and plein-air art workshops. He is a member of the Lithuanian Union of Artists. He now lives in Vilnius.

Sopranas kaip šiuolaikinio meno intertekstas: įvaizdžio kūrimas

Author(s): Yuan SUN / Language(s): Lithuanian Issue: 121/2024

The article is devoted to the intertextual image of the soprano, which permeates the communication of various spheres of contemporary art – literature, music, and theater. On the basis of Ukrainian-language texts, the author of the article examines the forms of invocation of the soprano as the highest female singing voice, determines its dialogical nature with artistic texts, and searches for various images associated with the soprano: femininity, beauty, melody, grace, aesthetic ideal, etc. It is shown how the image of the soprano acts as a trigger in different art forms. Attention is drawn to the cultural background that becomes the basis for the functioning of the soprano image: it refers to the texts of literature (O. Pchilka, L. Kostenko, E. Hutsalo, etc.), musical and theatrical culture (K. Tsysyk, O. Obraztsova, L. Monastyrska), etc. The article identifies the triggers associated with the image of the soprano, on which its psychological basis rests: mezzo-soprano vs. coloratura soprano as a confrontation between the feminine and masculine in art.

Geometric Patterns of the Konya Sultanate

Author(s): Andrei Shchetnikov / Language(s): English Issue: 1/2025

Very few monuments have survived from the first two (11th–12th) centuries of the art of Islamic geometric ornamentation. The reason for this is the relative fragility of the used materials, and invasions and wars with their destruction. Compared to the previous era, the numerous surviving stone buildings of the 13th century in the Konya Sultanate provide a wealth of material for the study and classification of geometric ornamental patterns, dating back to previous centuries and invented by geometers and architects of that time.

Letum non omnia fenit (об одном шедевре школы торевтов саков Жетысу)

Author(s): Gulnara S. Jumabekova,Yerlan Amirov,Kyrym Altynbekov,Elina K. Altynbekova,Ramazan Zhanuzak,Ainash Childebayeva,Galiya A. Bazarbayeva / Language(s): Russian Issue: 16/2024

The archaeology of the Early Iron Age in Kazakhstan has rapidly expanded with new data in recent decades, including in the field of ancient art. To date, new complexes have been discovered in almost all regions of the country, indicating the existence of stable traditions in material culture, particularly in toreutics. The aim of this article is to introduce highly artistic artifacts from the early nomads’ kurgans located in the city of Almaty (late 5th — early 4th century BCE) into academic discourse. The cultural and chronological attribution of the finds involved not only searching for analogies but also incorporating anthropological and paleogenetic research data. The analyzed findings show thematic and stylistic parallels with the artifacts from the Issyk kurgan and the art of the Pazyryk culture. K.A. Akishev’s thesis regarding the existence of a Semirechenskaya school of Saka toreuts and the presence of transcontinental contacts between the populations of Western Asia and the Great Steppe is confirmed.