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Nezināmās lappuses latviešu mākslinieku dzīvē: Neatkarības karš 1918.-1920. gadā
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Nezināmās lappuses latviešu mākslinieku dzīvē: Neatkarības karš 1918.-1920. gadā

Author(s): Ēriks Jēkabsons / Language(s): Latvian Issue: 25/2021

From the summer of 1919, the Latvian War of Independence (1918–1920) and Provisional Government had the nation's relatively strong support. In the autumn of 1919, the German-Russian Western Russian volunteer army led by Pavel Bermondt was completely driven out of the territory of Latvia as was the Red Army of Soviet Russia in early 1920. Most of the Latvian population took part in the struggle for independence, and some of them were forced to stand in the ranks of opponents of Latvian statehood (Army of Soviet Latvia and Red Army of Soviet Russia) for some time, which was determined by the difficult military-political situation in the region and Latvia. Already during the First World War, most Latvian men in the age group suitable of military service were in the service of the Russian army. The new generation of Latvian artists formed a very specific and important, albeit relatively small contingent. In addition, during their military service in the Russian army and then in other armed formations, some of them continued to maintain active mutual contacts and, as far as possible, to engage in art. The aim of the article is to reflect the hitherto unknown pages in the life of Latvian artists during the Latvian War of Independence, when many of them directly participated in important yet insufficiently researched episodes of this important process. In this way, both the body of biographies of prominent artists (reflecting aspects of their lives that have been insufficiently researched for various reasons) and the understanding of the history of the War of Independence in general are significantly supplemented. The aim has been addressed by paying attention to the representatives of the field of fine arts. Artists became involved in the events of the Latvian War of Independence since the beginning of the country's existence. Although many artists were forced to serve in the Army of Soviet Latvia from which most deserted in May and June of 1919, many others remained and continued their service. The deserters immediately joined the Latvian state service, many took part in battles, and many, like Captain Otto Skulme, were attached to the Latvian War Museum, directly participating in its formation.In general, Latvian artists actively participated in all processes taking place during the First World War and the subsequent War of Independence; apart from serving in the armed forces, artists were involved in much larger numbers than had been previously known. Due to the specifics and importance of the professional field in conditions of modern warfare, in quite a number of cases they managed to avoid participating in direct combat, both during the First World War and the War of Independence, but not always. In addition, the painter Captain Otto Skulme is to be considered not only a heroic and experienced combat officer (as evidenced by the Order of St. George of Russia), but during the War of Independence he was also one of the first directors of the Latvian War Museum together with Professor Kārlis Straubergs. Latvia's young representatives of the fine arts formed a certain group of society connected by corporate ties (many of them were associated by joint studies in various specialized educational institutions, such as the Stiglitz Drawing Academy in St. Petersburg/Petrograd). This group is an excellent example that demonstrates the active civic position of the Latvian intelligentsia, in this case painters and sculptors, on the issue of Latvia's independence. The work and life of Latvian painters and sculptors during the period under review vividly illustrates the fate of the generation that suffered the most during the World War, as well as in the ensuing conflicts and their consequences. They died in the war and its aftermath, were taken prisoners in or after the First World War, were killed (like Ernests Stenders) or died in disease epidemics (like Jāzeps Grosvalds in the diplomatic service, Jēkabs Kazaks - from tuberculosis shortly after the War of Independence) etc. The biographies of many artists still contain large "white spots" of unknown facts, due in the first place to the Soviet period, when the authorities tried not to mention or even hide "politically unfavourable" evidence of service in the Latvian army or Russian anti-Bolshevik forces during the War of Independence and the Russian Civil War. However, unveiling service records clearly confirms that among Latvian painters and sculptors during the War of Independence, similarly to the nation as a whole, there is evidence of some political confusion in the complex and in many ways misleading military-political situation in Latvia and Russia. In some cases, a gradual return to the ideals of independence is to be seen, when returning home after the War of Independence from Russia.

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Latviešu kreisās mākslas uzliesmojumi 20.gs. 20. un 30. gados padomju Krievijā un Latvijā
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Latviešu kreisās mākslas uzliesmojumi 20.gs. 20. un 30. gados padomju Krievijā un Latvijā

Author(s): Sniedze Kāle / Language(s): Latvian Issue: 25/2021

In the interwar period, the consistently developed output of leftist artists proved unacceptable and dangerous to both Soviet Russia’s and Latvia’s political elites and civic circles. This is largely evident from the previous research on this subject that has encountered numerous obstacles. Among these was either partial or complete annihilation of artists and their art during the Great Terror in Russia, the dogmatic perspective of Socialist Realism focused on meticulously realist form, direct Communist ideological connotations affecting leftist art as well as the traumatic historical experiences of Latvia and Latvians under the Soviet occupation and waves of repressions. The article is a pioneering look at the most radical leftist Latvian artists’ activities in Soviet Russia and Latvia, searching for their common denominators. In 1922 and 1923, the artist Kārlis Johansons (1890–1929) who was known in Russian avant-garde circles wanted to organise two exhibitions in Latvia with himself as well as Gustavs Klucis (1895–1938) and Aleksandrs Drēviņš (1889–1938) as participants but met with a lack of interest. Klucis and Johansons later took part in the leftist Latvian group Kref that was active from 18 November 1923 to spring 1924, uniting fine artists and writers. They not only held public evenings with discussions but also met in a working group to exchange ideas once a week. The newspaper Krievijas Cīņa that represented the Latvian section of the Russian Communist Party’s Central Committee published derisive and critical reviews, accusing Kref of imitating Lef (ЛЕФ) and doubted the functionality of Johansons’ and Klucis’ exhibited constructions, although the former was interested in the functional solutions of structures while the latter – in their agitational use. This opinion was not changed also by the international evening of leftist art in the Central Communist Club of Moscow-based Latvians with the participation of renowned Russian men of letters such as Alexei Kruchenykh (Алексей Кручёных, 1886–1968) and Nikolai Tarabukin (Николай Тарабукин, 1889–1956); only eleven people attended the event. The leader of Kref Andrejs Ronis (?) tried to defend the organisation and approached Osip Brik (Осип Брик, 1888–1945) personally, asking him to publish a response in the sixth issue of the magazine Lef in 1924 but failed. Ronis’ letter and the manuscript of the reply are the only sources of information that have come down to us from the representatives of this organisation. In Latvia, the tandem of writer Linards Laicens (1883–1938) and artist Ernests Kālis (1904–1939) took over the popularisation of leftist art in the second half of the 1920s. They were active for some time before the onset of the Great Depression paying attention to constructivist form alongside socially critical ideas. The brightest example of their cooperation was the revolutionary literary magazine of Latvian workers Kreisā Fronte published in Riga from March 1928 to December 1930 when it was closed. The Latvian magazine’s design, compared to the Russian publication Novy Lef (Новый ЛЕФ), stood out with its consistent overall image with subordinated arrangement of photographs and graphic elements as well as the rear cover used as a communication platform with the reader. Regardless of its originality, social democratic critics accused the Latvian magazine’s content and design of plagiarising Novy Lef. Most leftist artists of both countries felt misunderstood and tried to establish mutual contacts; that was more easily done in the late 1920s and early 30s when both unofficial and official cooperation between Soviet Russia and Latvia developed. Leftist Latvian authors had episodic contacts via the cultural and educational society Prometejs (1924–1937). At first, the society was active in publishing Latvian books and periodicals at its publishing house Prometejs but in the early 1930s it also oversaw the Latvian section of the International Bureau of Revolutionary Artists (IBRA) whose aim was to improve international cooperation and promote contacts with Latvia and the USA. Thus graphic works by leftist Latvian artists were sent to the IBRA and exhibited at the International Revolutionary Artists’ Exhibition in Moscow. Among the participants were the creators of the graphic album Laikmeta seja [The face of the age] that was published in Latvia in 1933 and immediately confiscated. The pictorial edition was accused of “subversion of the existing system” or “incitement to hatred among certain groups of the population” according to paragraph 129 of the Penal Law. Expressiveness and overstatement seen on the sheets of Laikmeta seja are legal and even necessary means in the visual arts used by socially active artists throughout the Western world but in interwar Latvia they were viewed as a threat to the existing system. Several authors of the album were Communist Party members involved in illegal activities; therefore, they were isolated from current events in artistic and public life. For example, in 1934 the Society for Cultural Rapprochement with the USSR organised an official Latvian artists’ exhibition in Soviet Russia but none of the graphic artists who contributed to Laikmeta seja took part in the show with its thirty-eight representatives. Physical isolation in prison did not stop their practicing of art. For example, in 1933 Ernests Kālis, imprisoned for participation in Communist organisations, designed the cover for the poet Arnolds Grants’ (real name Andrejs Ikals, 1906–1942) book Plakātains vējš published by Prometejs in Moscow. Prison conditions affected Kālis’ health and he, like Samuils Haskins (1909–1974), emigrated to Soviet Russia in the mid-1930s to undergo treatment. The newcomers became actively involved with the activities of the Prometejs fine art section but they were perceived as leftist representatives of Latvia. Instead of Soviet benefits, both encountered the directives of Socialist Realism and were arrested in 1937 and 1938 as Latvian spies. Although, unlike Drēviņš and Klucis, they escaped death during the Great Terror, they experienced confinement or exclusion from culture as “wrong” leftists, threatening or too alien to the established artistic life or political system.

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Muzeja vēstures kartējums
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Muzeja vēstures kartējums

Author(s): Stella Pelše / Language(s): Latvian Issue: 25/2021

The article reviews the exhibition "Our Museum. The State Museum of Art - 100" held at the Art Museum Riga Bourse (4 September 2020-3 January 2021).

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Villeroy & Boch Metlahas flīžu paraugu lapas Rīgas Vēstures un kuģniecības muzeja krājumā
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Villeroy & Boch Metlahas flīžu paraugu lapas Rīgas Vēstures un kuģniecības muzeja krājumā

Author(s): Inga Karlštrēma / Language(s): Latvian Issue: 25/2021

The article presents the virtual exhibition of sample sheets of decorative tiles produced by Villeroy & Boch and now in the collection of the Riga History and Navigation Museum.

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Dažas epizodes Latvijas mākslas vēstures kopainas bagātināšanai

Dažas epizodes Latvijas mākslas vēstures kopainas bagātināšanai

Author(s): Inga Karlštrēma / Language(s): Latvian Issue: 25/2021

The article presents some new facts and discoveries about artworks held by the Riga History and Navigation Museum, specifying authorship and identities of depicted individuals

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Art-biografie Andrzeja Wróblewskiego

Art-biografie Andrzeja Wróblewskiego

Author(s): Daria Nowicka / Language(s): Polish Issue: 35/2019

The essay concerns the ways of reading and understanding the biographies of Andrzej Wróblewski, one of the prominent representatives of modernist and post-war painters. One special case is the art-biography project showing the need to reinterpret the author’s current biographical facts. The reading of texts by Jan Michalski, Magdalena Ziółkowska, Wojciech Grzybała and Andy Rottenberg shows this mechanism – expanding the constellations of Andrzej Wróblewski.

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Osiński poznański

Osiński poznański

Author(s): Dobrochna Ratajczakowa,Elżbieta Kalemba-Kasprzak,Ewa Guderian-Czaplińska,Ryszard K. Przybylski / Language(s): Polish Issue: 35/2019

The article is a record of a seminar meeting devoted to the memory of professor Zbigniew Osiński, an outstanding theatrologist, first director of the Grotowski Institute in Wrocław, a scholar interested in the works of Juliusz Osterwa, Jerzy Grotowski, Gardzienice Theater and Tadeusz and Irena Byrski’s theatre; researcher of the Oriental theatre reception in Poland. The seminar was organized to commemorate the first death anniversary of the Professor whose scientific path began to take shape in Poznań where he worked until 1970. The record of the meeting reflects its course: in the first part, three short speeches were given: – Professor Dobrochna Ratajczakowa talks about the beginnings of Zbigniew Osiński’s career as a researcher, Professor Elżbieta Kalemba-Kasprzak – about the ‘practice of humanities’ in a specific Poznań way, and professor Ryszard K. Przybylski – about the famous article that used information theory tools written by Balcerzan and Osiński. The second part is devoted to the memories of and reflections on the artistic and scientific activity of Professor Osiński in Poznań. Among the guests of the seminar were Professor Edward Balcerzan, Lech Raczak, Piotr Frydryszek, Janina Karasińska – friends and co-workers of Professor Osiński.

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Epitafia dla romantyzmu polskiego na przełomie lat 80. i 90. XX wieku

Epitafia dla romantyzmu polskiego na przełomie lat 80. i 90. XX wieku

Author(s): Kinga Siatkowska-Callebat / Language(s): Polish Issue: 37/2020

The article is about three texts of Polish culture (a 1989 film by Tadeusz Konwicki, A Tale of Adam Mickiewicz’s ‘Forefathers’ Eve, based on Mickiewicz’s poem Dziady, and two novels: Rien ne va plus by Andrzej Bart, 1991 and List of the adulteresses. Travel prose by Jerzy Pilch, 1993) which seem to bid farewell to the long duration of Polish romanticism. The three works concur with Maria Janion’s thesis who heralded, in a democratic and independent Poland after the political changes of 1989, the twilight of the romantic paradigm as it had existed since the first half of the nineteenth century. A more detailed analysis of these cultural texts allows us to grasp the complexity and the ambiguity of the relationships that Konwicki, Bart and Pilch have with the romantic legacy

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Muzeum Ofiar Wielkiego Głodu w Kijowie. „Trudna” ekspozycja muzealna

Muzeum Ofiar Wielkiego Głodu w Kijowie. „Trudna” ekspozycja muzealna

Author(s): Karolina Mosiej-Zambrano / Language(s): Polish Issue: 7/2020

The article analyses the permanent exhibit of the National Holodomor-Genocide Museum in Kiev. A particular emphasis is placed on the way the difficult and martyrological content is presented. Th e article describes the exhibition, its positive aspects and interesting solutions as well as the elements that, according to the author, adversely affect the visitors. Th e ways to convey essential, emotional, and tragic content in the museum were analysed. Exhibition solutions, such as the distribution of showcases, exhibits, signatures, and multimedia elements, were emphasised. Moreover, the exhibition analysis also draws attention to the elements of message availability and tries to indicate its reception. For the purposes of this article, the literature dedicated to the phenomenon of tanatouristics, the so-called difficult subjects, was also used. Thanks to this measure, the introduction of the article tries to bring these phenomena closer to its readers. The article is also based on the personal experience and knowledge of the author, an employee of an emerging martyrological museum in Poland – Sybir Memorial Museum – art historian, and museum enthusiast.

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Jacek Szymala, Powstanie kozackie 1648–1658. Studium z historii wizualnej, seria „Historia w mediach”, t. 2, red. prowadzący Jacek Szymala, red. serii Ewa Kowalczyk, Piotr Kurpiewski, Księgarnia Akademicka, Kraków 2019, 351 ss.

Jacek Szymala, Powstanie kozackie 1648–1658. Studium z historii wizualnej, seria „Historia w mediach”, t. 2, red. prowadzący Jacek Szymala, red. serii Ewa Kowalczyk, Piotr Kurpiewski, Księgarnia Akademicka, Kraków 2019, 351 ss.

Author(s): Teresa Chynczewska-Hennel,Mariusz Robert Drozdowski / Language(s): Polish Issue: 7/2020

The position deserves attention, as it opens a discussion on the important phenomenon of visual culture history, which is currently widely discussed among many researchers. A historian, even if he is not an art historian, oft en analyses iconographic art in his work. After all, we are dealing with a different type of perception of the described reality, one which accumulates the ability to synthetically capture it using at the same time both the historian’s and film expert’s skills. Jacek Szymala sets himself an ambitious goal – to create a model, “a set of tools helpful in the future research of historians, especially modern historians, going beyond traditional historiography”. The author brilliantly shows that history is not only a collection of past facts and events but lives in its visual dimension, becoming a continuation of history itself. It is only important that, as far as possible, every viewer or reader can and should remain exactly as critical as in the process of interpretation of any historical source that “lies on the table” in the workshop of a good and reliable historian. The author is absolutely right when he writes that: “[...] these monuments, skulls, or paintings should serve as a warning and reflection, and not be the cause of mutual hatred, stereotyping, and prejudices”. Jacek Szymala’s book will definitely serve future researchers of this fascinating topic.

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Kolekcja Corneliusa Gurlitta – współczesne reminiscencje zjawiska grabieży żydowskich dzieł sztuki przez III Rzeszę Niemiecką

Kolekcja Corneliusa Gurlitta – współczesne reminiscencje zjawiska grabieży żydowskich dzieł sztuki przez III Rzeszę Niemiecką

Author(s): Wiesław Pływaczewski / Language(s): Polish Issue: 43/2019

The article presents the phenomenon of plundering works of art by German Nazis, as well as contemporary reminiscences of this practice. The author takes into consideration the media discovery in 2013, that refers to Gurlitt family collection. This occurrence has become an impulse to start a discussion about claims of the heirs of Holocaust victims against the museums and galleries that are in possession of works which provenance is doubly because of legal issues.

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Recepcja i swoistość. Bułgarskie malarstwo ikonowe od IX do XII wieku

Recepcja i swoistość. Bułgarskie malarstwo ikonowe od IX do XII wieku

Author(s): Szymon Góźdź / Language(s): Polish Issue: 18/2020

The article focuses on the specificity of early Bulgarian icon art; the determined largely by tradition of canon and Byzantine dogmatic, but revealing the elements and features specifically Bulgarian. The time frame – from the 9th century (christianization of Bulgaria) to the 12th century (announcement of independence and establishment of the second Bulgarian state) – include the primary and pivotal moment in the history of Bulgarian icon painting; conditioning the iconographic constitution and the further development of the Bulgarian icon. Therefore, in the article it was also taken into account the centuries preceding the baptism of Bulgaria, indicating the specific coexistence of pagan Proto-Bulgarian art, eclectic art of tribes inhabiting Thrace, and Christian art present in the lands of the future Bulgarian state since the 4th century.

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Suflerzy w teatrach na ziemiach polskich w XIX i na początku XX wieku (do 1918 roku)

Suflerzy w teatrach na ziemiach polskich w XIX i na początku XX wieku (do 1918 roku)

Author(s): Piotr Koprowski / Language(s): Polish Issue: 18/2020

The article presents several comments and reflections on the specifics, conditions and significance of the work of soufflers in theaters in Poland in the 19th and early 20th century. It is also a kind of contribution to the history of the native theater in the said period. Soufflers aroused admiration and aversion. It was appreciated that they help actors at work, make it easier for them, and sometimes even save them from embarrassment. On the other hand, opinions discrediting the sufferers and their work have been appearing throughout this period. He was entertaining and angering both representatives of the audience and the acting community, this souffler who “scares the audience because he whispers louder than the actor gives.” However, no one, apart from the few voices from the beginning of the 20th century, questioned the sense and need of the profession of a souffler. Wherever articulated sounds were heard from the stage, the soufflers were considered full members of the artistic band.

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Mimesis a duende. Proces kreacji flamenco w świetle koncepcji naśladownictwa w starożytnej estetyce greckiej

Mimesis a duende. Proces kreacji flamenco w świetle koncepcji naśladownictwa w starożytnej estetyce greckiej

Author(s): Krzysztof Hliniak / Language(s): Polish Issue: 1/2020

The paper describes the relationship between imitation and creativity in flamenco style, referring them to the Greek concept of mimesis and comparing it with the duende concept present in this genre. Although both ideas are separated by two thousand years, they transpire to be unexpectedly convergent in their basic premises. In order to present the phenomenon of duende, the author also attempts a short answer to the question of what the phenomenon of flamenco is, what conditioned its emergence, what its characteristics are, and what forms and styles of flamenco can be currently found. Describing the phantasms about duende and a flamenco show, the author presents the process of creating a flamenco performance and its choreography. The paper refers to the accomplishments of the acclaimed Polish philosopher Władysław Tatarkiewicz, and is also a tribute to the late professor Jagna Dankowska, a sound director, a Professor of Philosophy, a Professor at the Fryderyk Chopin University of Music in Warsaw, who inspired the author to write this text.

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Avalokiteśvara in Tibetan Buddhist art of the Later spread (Tib. phyi dar) of the Dharma. Image classification proposal, part 1.

Avalokiteśvara in Tibetan Buddhist art of the Later spread (Tib. phyi dar) of the Dharma. Image classification proposal, part 1.

Author(s): Joanna Grela / Language(s): English Issue: 2/2020

According to traditional Buddhist narratives and popular beliefs, Tibetans are a people chosen by Avalokiteśvara. Therefore, his worship and multitude, as well as diversity of his images are quite common both in temples and public areas. Unlike the widespread analyses where the Bodhisattva has been treated as a peaceful tutelary deity, and classifications of its images have been based on morphological features (i.e. the number of hands, heads, etc.) or by artistic styles and techniques. This paper proposes another approach by grounding images in Tantric Buddhism models used locally. In the first part of the article, the images of Avalokiteshvara are inscribed in the body-speech-mind models as well as the external, secret and the first of the three internal aspects of the Three Refuges, also known as the Three Jewels, which covers a much wider set of iconographic material than usually considered.

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An Examination of Non-Conventional Materials in Post-modern Nigerian Paintings

An Examination of Non-Conventional Materials in Post-modern Nigerian Paintings

Author(s): Abodunrin Johnson Adelani / Language(s): English Issue: 1/2021

Postmodernism is a late 20th century style and concept in arts, architecture, and criticism, which represents a departure from modernism and is characterised by the self-conscious use of earlier styles and conventions, mixing different artistic styles and media, and a general distrust of theories. The use of materials for painting in postmodern Nigeria has become so explosive that the direction is no longer comprehensible; this has made this study expedient. Mixed media in painting is a concept that was developed in the 20th century when postmodern artists began to twist the traditional rules and is associated with each medium being used together.

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Avalokiteśvara in Tibetan Buddhist Art of the Later Spread (Tib. phyi dar) of the Dharma. Image Classification Proposal, Part 2

Avalokiteśvara in Tibetan Buddhist Art of the Later Spread (Tib. phyi dar) of the Dharma. Image Classification Proposal, Part 2

Author(s): Joanna Grela / Language(s): English Issue: 1/2021

According to traditional Buddhist narratives and popular beliefs, Tibetans are a people chosen by Avalokiteśvara. Therefore, his worship and multitude, as well as diversity of his images, are quite common both in temples and public areas. Unlike the widespread analyses where the Bodhisattva has been treated as a peaceful tutelary deity, and classifications of its images have been based on morphological features, or artistic styles and techniques, this paper proposes another approach by grounding images in Tantric Buddhism models used locally, e.g. outer, inner and secret forms of the Three Jewels or the Three Refuges, popular in Tantric Buddhism. The second part of this paper focuses on images of Avalokiteśvara as a meditational deity and a Dharma protector, which corresponds to the last two out of the three inner aspects of the Three Jewels. Using the method developed by Erwin Panofsky and the analysis of primary Tibetan text are partly used as convenient tools for the description and exegesis of images.

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ВІЛЬНІ ЛІРНИКИ БУКОВИНИ ЯК НОСІЇ КОНКУРЕНТНОГО СВІТОГЛЯДУ

ВІЛЬНІ ЛІРНИКИ БУКОВИНИ ЯК НОСІЇ КОНКУРЕНТНОГО СВІТОГЛЯДУ

Author(s): Igor Biryuk,Oleg Korytsky,Iryna Kukovska,Tatyana Sykyrytska,Petro Kovalchuk / Language(s): Ukrainian Issue: 2/2021

The need to address this problem is due to increased interest in the origins of traditional national culture and spirituality of our people, growing interest in authentic culture of the Ukrainian ethnic group, and in particular its component – the life of wandering elders-singers. The music of the Ukrainian lyre (kobza) is an organic part of people's worldviews, their thoughts and aspirations, diverse and rich spiritual life. One of the important roles in awakening the spirituality of our people was played by lyre players and kobzars, who carried the fiery Ukrainian word to the people, called for the struggle for freedom, for Cossack glory, for the ancient ancestral Orthodox faith. The article presents an analysis of the formation of lyricism (kobzarism) as a significant part of the cultural heritage of the Ukrainian population of Bukovina. The lyricists are portrayed as witnesses of the life and development of the people in different historical epochs, as well as their influence on knowledge of history, education of patriotism, love for the native land and respect for their ancestors. The purpose. Based on the analysis of literature sources and available historical documents to trace the peculiarities of the process of formation and reproduction of the history of lyricism in Bukovina, as part of the historical heritage of the Ukrainian people. Research methods: retrospective, synthetic analytical and generalizing methods. The scientific novelty lies in the generalization of information about the representatives of Ukrainian epic singing in Bukovina and Bukovina Hutsul region. Conclusions. The biographies of lyricists of Bukovyna, recollections about them, features of Hutsul lyre are given. Lyricism as a unique cultural phenomenon was spread all over Ukraine and in Hutsul region and Bukovyna as well from XVI century till 30ies of the twentieth century. As in the territory of Bukovina, as well as in all Ukraine, industrial production of lyres was not developed - in comparison with similar tools from other countries such lyres were much simpler in the design. The lyre in the Bukovynian Hutsul region had a layer of religiosity, so in addition to the heroic epic, the repertoire included chants and psalms. Well-known lyricists in Bukovyna were Yuriy Fedkovych (“Bukovynskyi Solovyi”), from the village of Putyla, Vasyl Tonievych from the village of Samakova, Petro Dzurak from the village of Dytynets, Dmytro Hentsar from the village of Ryzha (Pylypkove hamlet), Vasyl Hrytsko, Ivan Pokhovych (Hnat) from Sadhora (Chernivtsi).

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ВІА “ЧЕРВОНА РУТА” В КОТЕКСТІ ЕСТРАДНО-АНСАМБЛЕВОГО ВИКОНАВСТВА УКРАЇНИ

ВІА “ЧЕРВОНА РУТА” В КОТЕКСТІ ЕСТРАДНО-АНСАМБЛЕВОГО ВИКОНАВСТВА УКРАЇНИ

Author(s): Andrii Furdychko,Olesya Ilyenko / Language(s): Ukrainian Issue: 2/2021

The aim of the article is to clarify the artistic role of the ensemble “Chervona Ruta” in the context of Ukrainian musical culture. The relevance of the study lies in the development of principles of a new vision, trends in the development of the ensemble “Chervona Ruta” in the context of Ukrainian pop and ensemble performance and its role in the development of musical culture of Ukraine. The methodology of this study is the application of comparative-historical method, which allows us to trace the historical context of the ensemble and the context of the development of pop and ensemble art of Ukraine. The chronological method allows to determine the stages of formation and development of the team on the example of the analysis of concert and performance activities of the ensemble. Vocal and pop performance on the example of the ensemble “Chervona Ruta” appears as a dynamic cultural and artistic phenomenon. The song repertoire of the ensemble appears as a translator of the identity of Ukrainian culture, which is confirmed by the presence of folk intonations and the involvement of appropriate instruments. The study of the processes of formation and development of ensembles allows us to identify the traditions of Ukrainian pop music, which is a prerequisite for the formation and development of musical art in Ukraine. Despite the existing achievements in the study of ensemble performance, the issues of the influence of ensemble work on Ukrainian artistic music culture remain insufficiently studied, which highlights the need for a comprehensive analysis of the specifics of pop vocal and ensemble performance, especially the band “Chervona Ruta” as a creative phenomenon of pop ensemble. The creative path of the ensemble “Chervona Ruta” began a new stage in the formation of pop song repertoire, which differs from the previous significant changes in genre richness, functional features and new means of performance. The popularization of Ukrainian pop song contributed to the development of television, the improvement of sound recording and reproducing equipment, the emergence of electromusical instruments. All this contributed to the emergence of numerous amateur vocal and instrumental ensembles – a hallmark of a new era in the development of popular music. The advent of VIA brought new ways of artistic expression to the stage – new timbre paints, the use of electromusical instruments with their specifics, the use of various electronic systems, the strange sound of voices in extreme tension. Conclusions. Ensemble art in various genre and stylistic forms has always played a significant role in social life and has enjoyed the widest popularity among composers, performers and listeners in all historical epochs and in general remains popular today. The rise and prosperity of VIA coincided with a period of intensive scientific and technical discoveries – radio engineering, electronics, sound recording. Participants of vocal-instrumental ensembles can be called musicians-performers of a new type, they are at the same time singers, musicians, actors and authors. The new domestic VIA combined the features of big beat and enriched them with national elements, in their programs there is a tendency to synthesize with theater, choreography. A new youth spectator stood out from the former regular audience of the stage, the regulatory functions of the mass media increased.

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La couleur rouge et sa valeur pathétique dans l’expressionnisme abstrait et le surréalisme tardif

La couleur rouge et sa valeur pathétique dans l’expressionnisme abstrait et le surréalisme tardif

Author(s): Christophe Ippolito / Language(s): French Issue: 2/2020

This essay analyses the dialogue between automatism and late surrealism on the color red, with a focus on the intensity shared by painting and literature. The starting point is a collective prose poem by André Breton, Élisa Breton, and Benjamin Péret. This poem, « Riopelle », written for an exhibition of Jean-Paul Riopelle’s automatist paintings in 1949, is included in Breton’s Le Surréalisme et la peinture.

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