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esselin Pramatarov is a Bulgarian visual artist, translator from French and pub- lisher. He graduated print making in the National Academy of Arts and since 1993 has been the director of the Sonm publishing house. He is the illustrator and graphic designer of covers of more than 700 publications in the field of humanities and fiction published by „Sonm“, „Critique & Humanism“, „Prosveta“, „Riva“, The Maison des Sciences de l’Homme et de la Société, Centre for Advanced Study Sofia, The Institute for Studies of the Recent Past, National Endowment Fund “13 centuries Bulgaria”, Bulvest 2000, etc. Vesselin has illustrated schoolbooks in the subjects „Surrounding World“ 1st and 2nd grade, „Man and Nature“ from 3rd to 6th grade, „Physics“ from 7th to 10th grade and textbooks in these subjects for Bulvest Publishing House 2000 “. He has illustrated fairy tales by Charles Perrault, Nikolai Raynov, French writers of the XVIII century, Bulgarian folk tales, fairy tales and children's picture books. Author of the comic „The Tertian Glowing Stone“ written by Kancho Kozhuharov
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This paper is composed of two parts. The first one deals with the question of modes of depiction (notations, diagrams, algorithms, sketches) related to the scientific and artistic study of natural and cultural systemic phenomena, dynamic systems and open systems, including extra-systemic phenomena, singularity, and a chance. The question is how system-related scientific and artistic modes of depiction inspire each other? The second part of this paper tackles a question of scientific and artistic imagina- tion in the concept of poetic science (Augusta Ada, Lady Lovelace). This first part traces answers to the questions mentioned above in Ada Lovelace‘s education, study and work preceding her translation and interpretation of Babbage‘s Analytical engine. The number of her diagrammatic notes also included a first known (computer) algorithm. At that time, landscape painters studied scientific diagrams of atmospheric phenomena (rainbow, clouds, light reflection and refraction etc.) and developed specific approaches to sketching and notating air motion and light changes in the Earth‘s atmosphere that are associated with weather and climate and transformed them in accordance with their painting programs. This process is traced in sketches, paintings and texts of landscape painters Constable, Turner and Ruskin. Ruskin‘s ty- pology of sketches concludes this part by referring to his drawings, paintings, and daguerreotypes. This first part aims to offer an introductory differentiation of possible and actual relations between scientific and artistic depictions introducing notations, diagrams, and algorithms in comparison with three of Ruskin‘s types of sketches: 1) experimental, 2) determinant, 3) commemorative.
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The presented text considers a floor plan of the medieval church, among other things, from the point of view of semiotics, as developed by C. S. Peirce. Based on his second trichotomy, the text identifies the floor plan as an icon and ascribes to it the properties of a pictogram. The text then deals with an example of using the floor plan of a medieval Christian church in contemporary art, specifically in the work of Bohdan Hostiňák (*1968). The author attempts to analyse Hostiňák‘s 1996 painting Larva, partly precisely from the perspective of Peirce‘s general semiotics. It brings closer the artist‘s work with the opposites of two dominant signs, the temple and the larva, which like elements of harmony and chaos, can evoke feelings of ambivalence in the viewer. He then considers these in terms of Heraclitus‘s philosophy, Nietzsche‘s consideration of the Apollonian and Dionysian, and anticlerical reading of the image, Christian doctrine, entomology, and etymology.
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The present study is a half-shortened version of the Album, perhaps sufficient to outline the problem and reasoning. It forms a chapter in the dissertation, the topic of which is German painting ’80 and ’90 years (predecessors, opposition, followers). Unfortunately, or fortunately, it was necessary for such an extensive treatment of the emergence of meaning from the movement of the view of the image, precisely in relation to the transgressive principles of networking images outside themselves. I noticed how the look and the story were connected. The movement of the eye along the image does not have to be in a single line, but can only subsequently form a single line with a jump; this leap sometimes becomes a topic in itself. The text aimed to present a foreword to today’s network paintings (originating from the Cologne area of the eighties and nineties), which also worked in large scale with the text, context and painting principles. It may be too distant a relationship at first glance, but on the contrary: thanks to Reni, a continuous line is being created to Titian and from Reni to Kandinsky. The predecessor and distant follower worked as I will show below with the movement of the eye around the image.
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On the south facade of the chapel of St. Margaret of Antioch in Kopčany (Slovakia), there are two stones with engraved symbols. On one of the stones, the signs X, X in a rectangular frame and a schematically depicted face surmounted by three crosses are engraved. On the second stone, only the signs X and some simple lines are carved very indistinctly. Only the signs on the first stone are the subject of the analysis. The sign X can be interpreted as a Christogram. The rectangular frame around the second sign X can be interpreted as a symbol for the whole world or universe. The face with the three crosses can be considered an image of Christ. The signs as a whole composition probably symbolize Christ, his sacrifice, salvation through his death on the cross, the universal effect of salvation and saving from eternal death and perdition. The symbols had probably a protective function for the church and for the community of the faithful who used the church as well as for the buried in the cemetery. For these symbols, their meaning and function can be found analogies made in similarly reduced form and dimensions from the early Middle Ages (6th–10th centuries) in the territory of France, Germany, Switzerland or Austria.
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This study offers a discussion about the way artworks act as communicators of identity of their patrons. It reflects upon the potential interpretations of Donatello’s bronze statue of the David and the ways it mirrors the religious and civic aspects of the identity of its patrons, the Medici family, in light of the Quattrocento Florentine society. On the example of this statue’s replacement from its supposedly original location – the Palazzo Medici to the Palazzo Vecchio in 1494 – the author argues that spatial/architectural contextualisation of pieces of art and the artworks that surround them play an essential role in the correct interpretation of the ideas they are meant to represent and in the process of communication of their patrons’ identity.
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The article refers to the problematics of tension between closure and openness in Józef Czapski’s paintings. The paintings seem limited, closed in two-dimensional canvas, paper, cardboard... This is, however, an apparent closure. An analysis of the creative attitude of the painter, theoretician of painting and writer Józef Czapski was used to illustrate what transgressing material limitations – “opening up closed spaces” – involves. From the artist’s perspective, this “opening” means being sensitive to nature as a source of authentic creative visions and the ability to search for meta-physical justifications for one’s own work. Czapski’s creative attitude was confronted here with the views of Simone Weil, a thinker important for Czapski, and also with the concepts of the painter and writer Henryk Waniek and the critic Tomasz Burek. The “opening up” of the pictorial spaces also takes place from the perspective of the viewer/spectator, who investigates the individual works, as well as examines the relationships between certain images.
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This paper examines the use of oblique parallel perspective as a method of structuring pictorial space in Far Eastern art. Unlike the conical perspective of the Renaissance, this type of perspective is not grounded on a scientific foundation; and yet, it follows a series of well-defined principles that offer a rational solution to the problem of representing space. Inspired by the philosophies of the Far East, Asian perspective is a completely different phenomenon, if we compare it to the types of perspective used by European artists. In the 17th century, Asian artists begin experimenting with convergence – an element that is typical of conical perspective. This phenomenon did not take hold, as the attempts to adapt conical perspective did not have an impact on the deeply traditional cultures of the Far East.
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Based on the recent sculptural projects of Mihai Verestiuc, we will establish a conceptual connection of with the practice of post-minimalist sculpture, using as argument certain lines developed by artists such as Joseph Beuys and Rachel Whiteread in their works analysed in this article. The course of the works, in itself, offers us the opportunity to reflect on the assumed responsibility towards the formative impact that any artistic object offers in relation to the environment in which it is produced (social, cultural, economic or political) and that starts from the artist through all the elements implicit of his approach - the concept, the specificity of the material and the space, the socio-cultural reality.
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Review of: Zamfira Bîrzu Lazurca, Demers, Editura ARTES, Iași, 2020.
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The urgency of turning to the philosophical foundations of the formation of avant-garde stage synthesis on the stage of the Diaghilev seasons is emphasized. The purpose of the article is to determine the intentions of the stage synthesis of avant-garde art – cubism, Fauvism, abstractionism as a philosophical and anthropological phenomenon of destruction and deconstruction of classical art. The research methodology is determined by comparative and systematic approaches. Transcendental, phenomenological and dialectical methods make it possible to carry out a philosophical and anthropological analysis of the synthesis of arts as a dynamic integrity of synthetic form formation. Scientific novelty of the article. For Diaghilev's seasons, the avant-garde space was a certain gesture of despair, a compromising phenomenon of adapting the iconography of the Art Nouveau style. Conclusions. The European avant-garde syntheses of the beginning of the 20th century were equivalent to the search for a stage synthesis of Vs. Meyerhold, O. Exter, K. Malevich.
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Art, having in its center the human being – the creator and his work, has always been in the attention of filmmakers, imposing itself in the evolution of cinema through complex subjects inspired by all the genres of art. In 1970, at the studio „Moldova-Film” was launched the first nonfiction film dedicated to the plastic artists – „Alexandru Plămădeală” directed by Anatol Codru. Then, followed the release of several films in this category, signed by different directors: ”Obsession” (director V. Druc, 1983), „Gleb” (director V. Jereghi, 1983), ”Confession” (1985), ”Mihai Grecu. Beyond Color” –both directed by M. Chistrugă, „Mihai Beţianu” (director Igor Isac, 1992) and others. We will try to elucidate how cinematic art currently serves the arts, which generated it, supporting them and capitalizing on them through its cinematic language.
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The author approaches from a scientific point of view the methodologies and techniques applied to disassemble-reassemble the mosaic, as well as other works of art of this kind. In this context, he emphasizes the visual perceptual impact produced after the relocation of the mosaic panel “Art (Art Attributes)”, made by Mihail Burea (1972) on the facade of the building from Kyiv Street, No. 7, Chisinau (former Palace of Culture of Trade Unions, Rascani sector).
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In the twentieth century, in the field of textile art there were exhibition events that caused major changes in the attitude of artists and the public towards the two-dimensional or three-dimensional textile art object. Throughout its evolution, the textile art has undergone transformations and turning points, in line with the dominant artistic trends and styles of the time. From the first manifestations in consecrated form, that of a two-dimensional decorative object made of textile fibers in specific weaving techniques, and until now it has oscillated one after the other between the status of first-rate art and applied art, being closely linked to the craft of weaving that preceded it.
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The mental image of the praying mantis (mantis religiosa) meant for the surrealists more than a curious form: it was a projection of anxieties and repressed states of consciousness, but at the same it was one of the possible, though not the only, icons of the Eros-principle, combining sexuality and death. The imagery of the praying mantis was most intensely discussed by the surrealists and their collaborators in the 1930s. In this context, three events are worth highlighting: the role of the journal Minotaure (1933-1939), Roger Caillois's essays on the praying mantis and mimicry, which were highly resonant in surrealist circles, and Salvador Dalí’s critical treatise about Jean-François Millet’s Angelus, in which the praying mantis also played a significant role. The image of the praying mantis were also present in Surrealist works created in Hungary: Marcel Jean’s Mnésiques connects the image of the mantis religiosa to Kafka’s Metamorphosis, while Dezső Korniss’s images of insects use the same ambivalent approach of connecting states of joy to the idea of death.
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Sustainability is directly associated with the longevity of the life cycle of an article of clothing, and its ability to be modular ensures a stronger relationship with the user because he can be directly involved in its transformation, in creating variations of aesthetics, according to need, context, preferences or season. Clothing modularity has been around since the 17th century and currently can innovate approaches to clothing design while respecting consumer needs and decreasing the frequency of clothing purchases.
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The project questions the beauty ideals of the contemporary world and the volatility of the term perfection, thus merging the two worlds of beauty and ugliness in a clothing collection. As a primary source of inspiration, the project started from the mental illness body dysmorphia. The project aims to change the identity values and the attitude towards peers in a positive sense, acting by removing prejudices and relying on a clothing composition that highlights body dysmorphism.
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In the consciousness of humanity, the myths, legends and stories that have survived among different peoples and civilizations, represent valuable historical, psychological, social and artistic study material. The ritual practices, cave paintings, idols, signs and symbols that have survived from the Upper Palaeolithic period have formed a vocabulary that specialists in the modern and contemporary periods have been able to interpret in order to delineate the stages of evolution of self-consciousness and the collective subconscious, as well as the role of artistic practices in this process of continuous formation.
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