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Скульптура Буковини середини ХХ ‒ початку ХХІ століття: від соціалістичного реалізму до постмодернізму

Author(s): Irina Ivanovna Mishchenko / Language(s): Ukrainian Issue: 4/2019

The purpose of the article is to analyze the development of sculpture on the territory of Bukovina from the middle of the XX century to the beginning of the XXI century. The methodology of the study includes the complex application of various methods: historical, comparative, biographical, and art historical analysis. The use of the above methods allows us to analyze the progress of fine arts in the region thoroughly. The scientific novelty of the obtained results is in the coverage of artistic processes in Bukovina, which have not been adequately reflected in the scientific literature, the introduction of scientific names of artists, and the analysis of stylistic peculiarities of their works. Conclusions. The study of this topic makes it possible to consider objectively the creative work of sculptors of different generations and different artistic preference, to trace the influence of the socio-political situation of a particular historical period on artistic practices and to identify which world view principles and stylistic tendencies prevail in Bukovinian sculpture during the XX ‒ the beginning of the XXI century. The development of the sculptures in the region from the mid-1940s to the present shows a gradual departure from the traditional for Soviet art thematic direction and illusory realism, depersonalization of the characters, and usage of the common stamps, to works with multilayered content and ambiguity of perception. The search for such masters as Volodymyr Gamal, Ivan Salevych, Svyatoslav Virsta at the beginning of the XXI century determines how the sculpture and fine art of the region will develop in general, moving away from works based on literary plots and recognizable, standardized images and compositional schemes, to the complex content constructed on associations and artistic parallels, postmodernism plastics.

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Концептуально-пластичні аспекти поліхромії та кінетизму в українській скульптурі ХХ століття

Author(s): Volodymyr Odrekhivskyi,Vasyl Odrekhivskyi / Language(s): Ukrainian Issue: 4/2019

The purpose of the article is to highlight and analyze the artworks of Ukrainian artists who lived and worked outside Ukraine in the XX century and used innovative sculptural means of expression in their work. Methodology. The study is based on the art history method, a complex combination of the method of artistic analysis, classification, and abstraction, factual-descriptive, comparative, historical, and structural-typological methods. The scientific novelty of the article is the disclosure of the aspect of image-plastic transformation in the Ukrainian sculpture of the XX century, emphasizing the conceptual problems of color and movement. The systematization of the selected examples allows us to form a new look at Ukrainian sculpture in its inseparable unity with world artistic trends. Conclusions. As a result of the research, innovative plastic researches of Ukrainian sculptors of the XX century, which could embody their author's concepts outside of Ukraine, were demonstrated. The works of A. Archipenko, K. Milonadis, M. Urban, A. Pereima, R. Kostinyuk, M. Dzyndra confirmed the existence and clarified the features of the conceptual-plastic aspects of polychromy and kineticism, assemblage and installation, which, in turn, proves the fact of integration of this segment of Ukrainian culture in the art-world process of the XX century. It was confirmed that A. Archipenko's creative inventions became a significant source of inspiration for future generations of Ukrainian sculptors. If in states where Catholicism was prevalent, it was a circular sculpture that was the main imaginative in the religious sphere, then the requests of Orthodox Christianity sent artistic expression into a two-dimensional imagery space. Kievan Rus was dominated by the Byzantine icon painting tradition, which actively developed painting (including murals) and mosaics that are directly related to the use of color. This influenced the whole further course of the development of Ukrainian art and, undoubtedly, on a certain subconscious level also influenced the polychrome experiments of O. Arkhipenko and other sculptors of the twentieth century, despite the fact that they were engaged in a kind of art, which in its traditional expression was relatively rarely foreseen. use of color and its conceptual and expressive aspects.

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Zbirka franjevačkih portreta u samostanu sv. Mihovila u Subotici

Author(s): Zsuzsanna Korhecz Papp / Language(s): Serbian Issue: II/2020

The Franciscan monastery of St. Michael in Subotica has celebrated the 300th anniversary of it’s foundation last year (2017). As the organizer of the town’s and the wider area’s cultural life these past centuries, the monastery and church of St. Michael retain the first and most significant artworks of the region, among others a unique collection of Franciscan portraits, which originally numbered 35. These paintings are the work of Mathias Hanisch, a Czech itinerant painter of the late Baroque (Prague, ca. 1754 – Vukovar, 1806) and were created in the last years of the 18th century. His clients were the most prominent inhabitants of Subotica at the time – town officials, landowners of Bunjevac origin, physicians and of course Franciscan friars. The portraits were made conforming to graphic templates and they display the best-known Franciscan saints such as St. Francis of Assisi and St. Anthony of Padua as well as less famous saints, e.g. Blessed Jacob of Zadar. According to tradition, the Franciscan figures portrayed are none other than the friars who lived in Subotica at the painter’s time.

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Recenzija: Marko Uršič, O renesansnoj ljepoti

Author(s): Filip Martin Svibovec / Language(s): Croatian Issue: 03/155/2019

Review of: Marko Uršič, O renesansnoj ljepoti, Naklada Lara, Zagreb 2016., prevela Ksenija Premur

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Probiti spektakl: o nekim paradoksima filmske slike

Author(s): Adrian Pelc / Language(s): Croatian Issue: 03/159/2020

In this paper, confronted are two radical currents of thought about the film image. In a first step, demonstrated is how some Marxist theorists (Beller, Debord, Baudrillard) define the film image as ontologically grounded in alienation and the destruction of non-mediated presence due to its technical origin, as well as its effects. In a second step, I try to show how André Bazin, influenced by phenomenology and taking up identical premises as the Marxists, came to diametrically opposite conclusions: it isn’t but the film image that discloses the real. Drawing on the work of Jacques Rancière, Jean-Luc Nancy and Giorgio Agamben, in a third step I establish a certain synthesis between these two currents and examine how spectacle is guarded, but also re-evaluated within the regime of film images. Through this re-evaluation, one gets a glimpse at the contours of an exigent aesthetic program that in some respects conforms to, while also deviating from eminent ideas on cinematic postmodernism.

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Changes in Czech Advertising Posters During the First Half of the 20th Century

Author(s): Dušan Pavlů / Language(s): English Issue: 2/2020

This study examines the status of advertising posters in the context of the first half of the 20th century by comparing the art-science approach to the discourse of advertising theoreticians and executive advertising graphic designers. It draws from the literature of the time, from advertising theory and from publications regulating advertising communication in public space. It documents the poster as the exclusive mass medium of its kind in the first decade of the 20th century and presents its evolution in response to the development of other public communication tools. It captures changes in the lifestyle of the new Republic as reflected in advertising content as well as the form of poster creation.

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The Eternal Return of the Real? Or, concerning Different Forms of Realism in 20th Century Art

Author(s): Katarína Ihringová / Language(s): English Issue: 2/2020

In discourses about the Fine Arts, both theoretical but mainly artistic, there is a tendency to refer to realism, realist depiction, reality and imitation in some periods. Such a tendency can also be seen in 20th century art and art theory. The key problem in the submitted text will be the question: to what extent can the Platonic term mimesis also be applied to modern realist art and how the current interpretations of mimesis enrich the view of realist art with respect to creativity and cognition.

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Фотографията като документ. Временна скулптура и празнична украса за 1 май 1945 г. в София

Author(s): Maria Miteva / Language(s): Bulgarian Issue: 4/2020

This article is based on photographic images as the sole evidence of the visage of temporary artworks. An object of interest is the monumental decoration put up on the occasion of May Day, International Workers’ Day in 1945, in Sofia, Bulgaria’s capital. A parallel is drawn between the images of sculptures, captured in nine photos from the photographic archive of Todor Slavchev (1900–1992), and information in records from the archives of the Union of Bulgarian Artists and major publication on the subject. This paper focuses on problems of art commissioning (mainly public) and art-commission relation, as well as on the structures and the organisation of art practices in the decade preceding 9 September 1944. The article seeks to trace the ‘evolutionary’ line in the development of the processes, rather than the ‘revolutionary’ one, proclaimed under socialism. The facts of the report by the evaluating commission on the artwork performed on the occasion of Labour Day are provided in detail, citing the teams and their artworks. The subject of labour was visualised by presenting the main sectors of the then Bulgarian economy: farming (figures of a “Sower” and a “Female harvester”), crafts (“Smith”), mining (“Miner”), industry (“Industrial worker” and “Female tobacco worker”) and construction (“Builder”). War, an undesired, yet existing reality, was also included in the statuaries (“Warrior”) and the still discernible role of intellectuals (“Mental Work”). A figure of a “Partisan” pointed towards the hero of the new era.

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Descriptions of Carved Lily Flowers on the Walls of Damascus in Fifteenth-Century Pilgrims’ Accounts

Author(s): Pierre Moukarzel / Language(s): English Issue: 1/2020

From the sixth century, European pilgrims have visited Damascus and given an accurate description of the city, devoting a section in their writings to its walls. From the late fourteenth century until the beginning of the sixteenth century pilgrims became increasingly interested in the walls of Damascus and some of them such as Anselme Adorno, Martino Baumgartner, and Ludvico di Varthema wrote a story about the lily flower (fleur-de-lis) carved on them by a Florentine. The story became popular in Europe from the middle of the fifteenth century.

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The Staging of the Pilgrimage. Barskiy at the Holy Sepulcher and 18th Century Erusalimii

Author(s): Marko Katić / Language(s): English Issue: 1/2020

This paper provides insight into the pilgrimage context of the representations of the Church of the Holy Sepulcher using the example of 1789 erusalimia in Mostar. Constituent elements of the image were brought in connection to the rituals performed by the pilgrims in the church. These were described in the diary of Russian pilgrim Barskiy during the first half of the 18th century.

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The Selection of Saints in the Narthex of Saint George’s Church at Voroneț Monastery: A Case Study on the Transmission of Religious Models from the Balkans towards Moldavia during the 15th Century

Author(s): Oana Iakubovschi / Language(s): English Issue: 1/2020

Throughout the 15th c., the Moldavian ecclesiastical and cultural environment encouraged the assimilation of models promoted in centres like Tarnovo and Ohrid, in literature and art alike. Portraits of saints who enjoyed large popularity during the last century of independence of the Balkan Christians, whose Lives were subjected to changes, by rewriting or adapting older versions during the 14th c., or whose hagiographies were translated during this late period, have found their place in the narthex of St. George’s church at Vorone? Monastery (ca. 1496). Besides the evaluation of the literary corpus available in Menaia and liturgical Sborniki, careful observation of the iconographic peculiarities related to each holy figure allowed us to add new information about the place of some of the highly revered Balkan saints in the liturgical and artistic practice of the Moldavian churches, at the beginning of the Post-Byzantine era.

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Икони от светогорския монах Доситей от Печ в Самоков

Author(s): Alexander Kujumdzhiev / Language(s): Bulgarian Issue: 1/2020

The article presents six Despotic icons from the iconostasis of the Church of the Protecting Veil of the Mother of God in the Virgin Convent in Samokov, dating from 1819. In the scholarship these icons are considered to have been made by an unknown painter or are incorrectly attributed as the work of the Samokov painters Hristo Dimitrov, Dimitar Hristov or Ioan Iconopisetc (the Icon Painter). In fact, they were made by a little-known today Mount Athos painter of Serbian origin – Dositheos from Pec. Almost nothing is known about him, but it is assumed that he was a monk in the hermitage of St. John the Forerunner to the monastery of Iviron and he was in a creative relationship with the studio of Nicephorus from Karpenisi. This new attribution brings clarity and expands our idea of the influence of the masters of Mount Athos on the religious art in Samokov and the region. One of the icons from Dositheos in the church in Samokov depicts the scene of the Flagellation of Christ. An iconographic source for it is found in the works of the brothers Hans Holbein Jr. and Sigmund. Their models were probably later reworked into an engraving, which was reinterpreted in the Samokov icon by Dositheos. The specific model has not yet been discovered, but it is certainly not the engraving from the Russian gospel originating from the Rila Monastery (1744), as is believed in Bulgarian scholarship.

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Pilgrimage and Visual Culture in 19ᵗh-Century Kosovo and Metohija

Author(s): Ivana Ženarju Rajović / Language(s): English Issue: 1/2020

In the 19th century religious journeys were a widespread and important form of active worship, but they also had a wider cultural significance. The practice of the permanent memorization of a pilgrimage (hac?l?k) in the form of sacral memorabilia was particularly important for the visual culture of the 19th century in the Balkans. The paper analyzes these Palestinian eulogiae in the form of various types of icons found at the churches of Kosovo and Metohija during field research. Also, the paper offers a short analysis of the distinctive ambience of the so called Jerusalem Room in the house of Hadjji Sima in Velika Hoca, where items he brought from his pilgrimage to Jerusalem have been kept since the mid-19th century.

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Gospodin Zhelyazkov and His Paintings in Sofia Churches

Author(s): Vesselina Yoncheva / Language(s): English Issue: 1/2020

There is no comprehensive information on the work of the artist Gospodin Zhelyazkov. The scientific literature lacks a thorough systematic review of his church paintings. The present article attempts to consider and systematize the church paintings of Gospodin Zhelyazkov. The scope is limited to his works in churches in the city of Sofia.

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A Journey Intramuros. Processions and Other External Rites in Liturgical Manuscripts of Thessalonica

Author(s): Ilias Karalis / Language(s): English Issue: 1/2020

The article aims to provide an accurate presentation of lites and two other outdoor rites, Indictus and in trullo (Saint Sophia) acclamation, performed in the urban fabric of Thessalonica in 15th century. Secondly, it draws attention to the investigation of the impact that these ceremonies had on the faithful. Information will be drawn from the works of Symeon, archbishop of Thessalonica (1416/7-1429).

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One Chanson – Three Intabulations. The Journey of Orlando di Lasso’s Bon jour mon Coeur to the Wurstisen lute book in Basel

Author(s): Yavor Genov / Language(s): English Issue: 1/2020

Wurstisen lute book is remarkable lute manuscript, entirely compiled by the Basel’s student in medicine Emanuel Wurstisen between 1591–1594. Important part of it contains lute arrangements of vocal secular music – French Chansons, Italian Madrigals and German Lieder. Orlando di Lasso’s chanson Bon jour mon coeur is copied by Wurstisen three successive times in three different lute versions, which most likely speaks about special attitude of the scribe to it. The paper in presence aims to trace out: where Wurstisen copied his versions from; how each version reflects the original texture; whether Wurstisen copied his arrangements literally or certain personal marks are recognizable.

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Три писма от остров „Св. Анастасия“ от лятото на 1911 година

Author(s): Ivan Vanev / Language(s): Bulgarian Issue: 1/2020

“St. Anastasia” is the only island on the Black Sea coast of present-day Bulgaria with a preserved monastery. It was under the jurisdiction of the Ecumenical Patriarchate of Constantinople until 1900, when it was sold with all its property by the last Greek abbot, Archimandrite Antim, to two Burgas entrepreneurs. The sale was met with great indignation by the Burgas public and was annulled in 1901 by the Burgas District Court. After that the monastery passed under the management of the Municipality of Burgas. The abandoned monastery church was solemnly consecrated on August 15th of the same year by the Sliven Metropolitan Bishop Gervasius. The text presents three unpublished letters by the publicist and social figure Raicho Raichev sent in 1911 from the island to Atanas Chilingirov who at that time worked at the National Archaeological Museum in Sofia. The letters reveal unknown moments in the history of the monastery in the early 20th c. and are evidence of the state of the cultural monuments and artefacts preserved there. During the sale, the monastery lost much of its cultural property, library and archives. Some artifacts were transferred to the Greek consulate in Burgas in 1901 and handed over to the Athens Metropolitan in 1929. Raicho Raichev’s letters also reveal an attempt that has been made to export icons. On July 25, 1911, a “Russian with several servants” arrived on the island. He searched the monastery and removed 12 old icons from one of the cells. The “Russian prayed to tears” to the guard of the monastery to let him take them, but thanks to the intervention of Raicho Raichev the icons remain in the monastery. At this stage of the research it is difficult to establish exactly which icons were saved by Raicho Raichev. Probably among them are the works of the icon painter Dimitar and Joan of Ahtopol, some of the most talented and sought-after painters who worked in the Western Black Sea region in the late 18th and early 19th centuries. Today the preserved icons are extremely important for future research of the monastery and its history. They are important for clarifying the construction periodization of the church, the dating of the iconostasis and are evidence of the financial capabilities and connections of the island monastery with the metropolitan centers along the coast.

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Wystrój rzeźbiarski kaplicy św. Marii Magdaleny przy kościele Wniebowzięcia NMP i św. Jana Chrzciciela w Henrykowie oraz jego twórca August Leopold Jäschke

Author(s): Artur Kolbiarz / Language(s): Polish Issue: 4/2020

The raising and furbishing of the Chapel of St Mary Magdalene at the Cistercian Church in Henryków formed part of the last artistic offensive of the Catholic Church in Lower Silesia in the modern times, actually conducted after the region had been incorporated into the Kingdom of Prussia. It was also one of the significant artistic projects implemented in the mid-18th century by the Henryków Abbot Candidus Rieger. The preserved archival records allow to recreate the division of works on the project. Bricklaying, masonry, and carpentry were conducted mainly by local craftsmen. However, the remaining tasks were commissioned from Wrocław masters. The paintings were executed by Johann Heinrich Kynast, the stuccoes by Dominicus Merck, while the altar and woodcarving by August Leopold Jäschke (ca. 1709-1787). Little identified in literature so far, the sculptor was active for over five decades on the Sand Island, having a major impact on shaping the local Rococo fine arts. Educated most likely in the excellent atelier of Franz Joseph Mangoldt, Jäschke imitated his supposed master in figurative sculpture and in so-called ‘minor architectural elements’. He compensated for his mediocre skill at shaping figures by applying fashionable architectural concepts and extensive ornamentation. Jäschke's professional activity, territorially covering Upper and Lower Silesia, as well as the borderline of Greater Poland, constitutes an excellent touchstone of the output of the Wroc³aw artistic circles of the time of Rococo.

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„Powołanie św. Mateusza” Caravaggia, czyli kto jest kim w obrazie i skąd to wiadomo?

Author(s): Jarosław Jarzewicz / Language(s): Polish Issue: 3/2020

Caravaggio's painting Calling of St Matthew has been inciting vivid interest since its creation. Additionally, it is one of those works whose studying has been perfecting the methodology of art history. Despite the painting's extensive studies what has remained controversial is such a basic issue as the identification of the protagonist: which of the figures in the painting is Matthew? Such a situation questions the appropriateness of to-date applied interpretation methods. This very issue is analysed against a general background: how do we know who is who in the painting, and a new justification of the traditional identification based on the presumptions resulting from the work's contexts has been proposed.

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Architektura gotyckiej fary w Bochni

Author(s): Piotr Knapik / Language(s): Polish Issue: 2/2020

To-date the architecture of the Bochnia Parish Church has not inspired much investigative curiosity. Most generally the scholars have limited themselves to dating and pointing to brick Gothic from the North as the building’s inspiration. An attempt has been made in the paper to reconstruct the genuine appearance of the Church before its Gothic Revival remodelling (which led to alterations in the western façade gable), as well as to analyse it in the perspective of the architecture of Lesser Poland and Central Europe. The plan of the building finds a number of analogies with the structures in the region, but also in Bohemia and Silesia. However, what proves utterly untypical of Lesser Poland is the western gable modelled possibly on Gdansk gables or, which is more likely, those in Saxony. It is highly probable that the current shape of the church was created in several stages: from the early 15th century until around its second quarter the chancel was raised, with the nave body built in the subsequent years, however the current form of the Church’s western façade resulted from the rebuilding after the fire in cca 1485, conducted at the turn of the 16th century or in the first quarter of the latter.

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