Building Archaeology în România?

Author(s): Ileana Burnichioiu / Language(s): Romanian Issue: 10/2021

A Presidential committee report from 2009 drew up an inventory of the issues that the built heritage from Romania had been facing for years. As part of the response to the general crisis in the management of cultural heritage, the committee proposed a series of measures to reform the training of professionals who inventory, document, analyse and interpret the built heritage. Without a straightforward connection to the field, the authors came close to the views and objectives of some traditional fields in German-speaking areas, like Bauforschung or Baugeschichte, and also to the so-called “archaeology of architecture” which spread from the 1980s-2000s under various names as Building(s) archaeology, Archeologia dell’architettura, Archéologie du bâti etc. Therefore, first, my article surveys the landscape of these consecrated multidisciplinary building researches from different western european countries. Secondly, it investigates the chances of implementing architectural archaeology in Romania, taking into account the lack of tradition in rigorous building recording, that very few of the international principles in the field of heritage protection have been applied so far, and that soil archaeology has not yet moved up to the standing buildings.

Restaurarea ansamblului de arhitectură și a picturilor murale de la Biserica Sf. Ilie din Suceava

Author(s): Georgiana Cristina Zahariea,Constantin Gorcea / Language(s): Romanian Issue: 10/2021

Built in 1488 by Stephen the Great on the outskirts of today’s Suceava as a monastery of monks, the ensemble known as “St. Elijah” appears together with the church of the Exaltation of the Holy Cross from Pătrăuți and that of Voroneț. This attitude is part of the rhythmic and consistent program of the ruler to found monasteries in the cities that are related to the Courts (Iași, Vaslui, Botoșani, Dorohoi, Bacău, Piatra).The church, which was left neglected after the monastery was disbanded during the Austrian occupation, didn’t come to the attention of the Commission of Historic Monuments from Vienna, nor was it proposed for restoration, such as the churches of the Putna monastery, St. John the New in Suceava, Voroneț, the old church of Mirăuți or the one next to the former Royal Court from Milișăuți/Bădeuți.Although there are no clear documents, the church of St. Elijah went through several stages of restoration that changed in some way the original appearance of the monument. Now, the ensemble is at the end of the restoration project and for that reason this article brings to the reader information observed during the restoration from the perspective of the design architect and the mural restorer.The interdisciplinary approach of the project was coordinated by the architectural design company AGD SUCEAVA, having the collaboration on the part of construction execution - SC GENERAL CONSTRUCT SRL. The restoration of the mural paintings from inside and outside was made by SC CERECS ART SRL, SC MOLDRESTCOM SRL, SC ATELIER REMONZA SRL

Media Coverage of Visual arts from 1990 until 1995 – on the Example of the City of Zadar in the Republic of Croatia

Author(s): Vesna Kalajžić / Language(s): English Issue: 63/2019

The last decade of the 20 century is characterized by political changes, the transition from a socialist to a democratic political system and the reflection of these changes to almost all areas of human life and action. The hardest years during this period were brought by the Homeland War, which has left a particular mark on the first half of the nineties of the last century. With the fight for survival and existence, and other social issues in that very hard time, it was also important to preserve spiritual life. Therefore, culture and cultural activity have a special meaning in the period of war and the post-war period. Visual arts is an important segment of the culture, which is also implemented in the programme of the Cultural Policy of the Republic of Croatia, together with literature and publishing, music, performing arts, movies, media and cultural heritage. Visual arts creation and visual arts events present a contribution to the culture and cultural life which has a special value during war times. The goal of this paper is to analyse the media coverage of visual arts on the basis of articles published in the local newspapers in Zadar, Narodni list and Zadarski list. Special attention is given to the analysis of the themes of articles on visual arts. The paper applies methods of qualitative and quantitative content analysis. Corpus of the research consists of 316 articles published in Fokus, Zadarski list and Narodni list.

Malarski i rysunkowy wystrój ksiąg Metryki Koronnej ze zbiorów Archiwum Głównego Akt Dawnych

Author(s): Maciej Wieczorek / Language(s): Polish Issue: 1/2022

Decorated books belonging to the set of Metrica Regni Poloniae in the collection of the Central Archives of Historical Records in Warsaw are discussed. Decoration has been identified on pages of 31 volumes dating from the 17th and 18th centuries. Analysis of the collected material has demonstrated some affinity of the decorated books of the registrum to the illumination of documents issued by Polish monarchs. Apart from the compositional analogies, also the participation of the same artists can be confirmed. The contribution of artists described in earlier literature has been demonstrated (Ludwik Dagobert, Wojciech Domański), but also decorators previously unrecorded (Jan Rawecki, Jakub Czechowicz) have been identified. Furthermore, it has been observed that the majority of decoration authors came from among the staff of the royal Chancellery. The decoration of the books of the Metrica Regni Poloniae can thus provide precious information for the research into staffing of the state's central offices.

The Firmament and its ornaments, an introduction in the art of the Portals of Wooden Churches in Transylvania

Author(s): Alexandru Baboș / Language(s): English,Romanian Issue: 1/2020

In the art of carpentry in Transylvania, we can distinguish the attention with which craftsmen treated the entrances to the wooden churches, starting with the 17th century, especially in the 18th century and sometimes even in the 19th century. Everywhere, where the entrance portals have been preserved in their authentic forms, there is a variety of sculpture, which flourishes and achieves significant artistic performances. Taken together the sculpted portals give a distinct, even unique dimension to the wooden churches in Transylvania, which demand an increased interest from the Romanian research. We admire them today especially for their beauty, expressiveness and variety, for the intricate compositions in which details were placed, due to the surprising juxtapositions, their figurative geometrical motives, but we miss the very meaning that they stand where they stand, at the entrance to the places of worship. Obviously they were placed there not only as a simple ornament, but especially in order to enter into dialogue with the one who looks at them. Then as now, the art of sculpting was the art of communicating

Albert Krausz (1892-1958), arhitect și portretist al Timișoarei interbelice în surse memorialistice

Author(s): Marius Cornea / Language(s): Romanian Issue: 1/2021

This article illustrates the activity of the architect and painter Albert Krausz (1892-1958), who designed in Timișoara dozens of villas and blockhouses in the modernist style in the 1930s, being the author of an important number of portraits and landscapes preserved nowadays in museums and private collections in Romania, Germany, and Israel, or only mentioned or reproduced in newspapers and magazines during the interwar period. Two museums in Timișoara preserve the memory of this highly sought-after portraitist between the two World Wars for the bourgeoisie and the intellectuals of the city on the Bega river: writers, painters, journalists, photographers, politicians, industrialists, merchants and lawyers, thus creating an illustrated lexicon of the representatives of the various cultural-linguistic communities, who contributed to the creation of the multicultural spirit of the city of Timișoara/Temesvár (Hungarian)/Temeschburg (German)/Temišvar (Serbian). Various memorial sources testimony the presence of Albert Krausz in the cultural and artistic circles of the interwar Timișoara, whitin the houses of dr. Moritz and Bianka Schönberger, Else Kornis, Ervin and Raimunda Beatrix Salló, and Olga Szuits.

Kronika kulturnih događanja u Mostaru, travanj - kolovoz 2022.

Author(s): Mira Pehar / Language(s): Croatian Issue: 125-126/2022

4. 4. U Kosači održan koncert Vlatka Stefanovskog i skupine Trio V3, a publika je uživala u kombinacijama instrumentalnog rocka, etnojazza, bluesa i jazz fusiona, koji su stvorili zanimljive i prelijepe zvučne pejzaže. Vlatko Stefanovski jedan je od najznačajnijih jazzrock gitarista ovog dijela Europe, a svjetski je poznat po svojim izvedbama na gitarama.

Oči koje su gledale unutra: Uz osamdesetu godišnjicu tragične smrti najvećeg srpskog slikara moderne, Save Šumanovića (1896 — 1942)

Author(s): Stevan Kostić / Language(s): Serbian Issue: 1/2022

This article is about the life of painter Sava Šumanović, who was executed 80 years ago (on 30 August 1942) at the Orthodox cemetery in Sremska Mitrovica, together with 120 other citizens of Šid, the city in which he spent his most important formative years. His body was never found to be burried. Šumanović is one of the most publically known victims of the Ustashe regime of the WWII in Yugoslavia. This paper does not discuss Šumanović's artistic contribution but rather the social and political context in which he worked and circumstances that led to his tragic death by brutal execution in front of a firing squad. Paintings and other Šumanović's works are today available in cities that had been connected to him through his life: in Paris (in which he lived on three occasions), Zagreb (in which he studied), Belgrade (the place of his last exhibition, just before the beginning of the war in 1941), Novi Sad (Pavle Beljanski Collection of Arts) and in Šid – where he was most productive as painter. His works were donated to Sava Šumanović Gallery in Šid, through donation by his mother, Persida Šumanović. This article is based on original sources such as Šumanović's personal letters, available from Milan Vereš's personal collection, as well as interviews, newspaper and TV archives, memoirs and biographies of Sava Šumanović.

PRIMENA IKT-A U NASTAVI LIKOVNE KULTURE

Author(s): Tamara M. Stojanović Đorđević,Vojislav Ilić / Language(s): Serbian Issue: 3/2022

In this paper, the authors talk about the possibility of applying ICT in the teaching of art culture. In addition to the possibility of application, they also talk about the stages of mastering ICT in the teaching of art culture. Until the end of the twentieth century, the media through which students learned about art were mainly: lecturers, textbooks, reproductions of works of art, various monographs on artists or encyclopedias, and rare visits to museums. Today, the use of information and communication technologies in the teaching of cultural culture is available to world museums, databases of works of art, various software that can be used for artistic purposes. The application of ICT minimizes the amount of work in the creation of visual art, which gives students the opportunity to devote more time to creativity. ICT enables the establishment of joint practice and cooperative learning, as well as communication not only between students and teachers, but also between students from different schools, countries or cultures. Therefore, it is very important to know the stages of mastering the teaching of art culture, so that its application would be as high quality as possible.

Między historią, tradycją a narracją. Powstanie Muzeum Bitwy Legnickiej w Legnickim Polu na tle pramuzealnych i muzealnych upamiętnień bitwy z 1241 r.

Author(s): Konrad Byś / Language(s): Polish Issue: 3/2021

The Battle of Legnica, which took place on April 9, 1241, has had an important place in the cultural landscape of Silesia and its inhabitants. Works of art and monuments are manifestations of this tradition. The memory of this event was also cultivated through objects allegedly preserved from the times of the Mongol invasion. Before 1945, the battle of1241 was the theme of an exposition in Lower Silesian Museum (Niederschlesisches Museum) in Legnica and in an ephemeral Regional Museum (Heimatmuseum) in the village of Legnickie Pole. After World War II, in new social and political realities, the Presidium of the County (Powiat) National Council in Legnica, in cooperation with the Regional Historical Monuments Conservation Office and the Silesian Museum in Wrocław, set about organizing the Museum of the Battle of Legnica in Legnickie Pole because of the upcoming 720th anniversary of this event; the other reason were the celebrations of the Millennium of the Polish State, which took place over the years 1960–1966. A medieval church was chosen as the seat of the museum, which – according to the local tradition– was erected on the place where the body of Henry II the Pious had been found. After a conversion of the church to fit new purposes, the Museum of the Battle of Legnica was opened on June 4,1961. The year 2021 marks the 60th anniversary of the establishment of the institution, which is now a field branch of the Copper Museum in Legnica.

Изобразительное искусство и органы власти Крымской АССР во второй половине 1930-х гг. Управление по делам искусств при Совете народных комиссаров Крымской АССР

Author(s): Marina N. Gavrilyuk / Language(s): Russian Issue: 3/2022

The topic of state policy in the field of fine arts of the Crimean ASSR is poorly studied at this stage, many aspects of the relationship between authorities and representatives of fine arts have not been studied. Of course, consideration of the regional policy of the Crimean ASSR in this area is possible only in the context of government decisions and resolutions on an all-Soviet scale. However, as in any other region, the dialogue between government and art had a number of peculiarities in the Crimean ASSR. Their study will significantly complement not only the history of the peninsula in the interwar period, but also highlight quite important issues of regional policy in the field of fine arts in the USSR. In addition, the research clarifies the facts in the biographies of many artists and sculptors who worked in the Crimea in the 1920s and 30s, and also reveals previously unknown names. The article considers the period of the second half of the 1930 s. The starting point is the creation on January 17, 1936 of the All-Union Committee for the Arts under the Council of People's Commissars of the USSR — a separate authority.

Spiritual Expressionism or Dynamic Meditation?

Author(s): Kamil Varga / Language(s): English Issue: 2/2022

Kamil Varga is a significant Czechoslovak photographer based in Prague, Czech Republic and one of the key figures of the photographic group Slovak New Wave. The author’s work has changed over the years. This portfolio attempts to show his key moments. He created his first works at FAMU in Prague, in the company of his generation called the Slovak New Wave. They are created in the spirit of figurative staged photography. However, from the very beginning of his studies he was fascinated by painting with light, which became his dominant creative approach for a long time. In the second half of the 1980s he began to work in large-scale photographic cycles exploring the mysterious magic of the artist’s specific perception of the world as a whole universe, in which the energy of his own subconscious, mysticism and the teachings of Eastern philosophies play an important role. He himself calls his work “spiritual expressionism”, when the contrast of these two words contains the tension that is a prerequisite for any creative work. For the most intense materialization of this intention, he uses the photographic method of luminography (drawing with light), which is best able to capture the tension of flowing physical and spiritual energy, concentrated in dynamic, rhythmic and sometimes almost ritualistic transformations. He thus creates his own, quite unique world of mysticism, mysterious patterns and symbols, concentrated in a liberating rhythm of ever new and new photographic fantasy images. Through black and white and colour magic rituals, mysterious symbols that intertwine with each other beyond space and time, he records the extrasensory flowing cosmic energies, but also the stories of man, mankind, civilisation and landscape anchored in darkness, through which he visualises the world of his own subconscious, consciousness, fantasy and faith into original photographic images.His photographs are at one time the result of his own purifying spiritual psychoanalysis, resembling stirring ritual dances, at other times they become intangible archetypal symbols of eternally flowing life-giving energies. Throughout the work, the artist’s primary concern is the exploration of the universe, which takes many forms in the artist’s art world.

Journeys to Parallel Worlds

Author(s): Robo Kočan / Language(s): English Issue: 2/2022

The portfolio of the visual artist and photographer Robo Kočan, who is based in Poprad, Slovakia, presents a selection of his artwork. He belongs to the prominent representatives of the second new wave of Slovak photographers, who in the 1990s intervened strongly not only in the Slovak but also in the Central European art space, especially through their multimedia approach to photography and new techniques in staged photography. His body of work is focused on mixed-media (issues of identity, family history and racial unity) and staged photography (luminography, scenography, additional painting into the image). Topics of night, fairy-tale fantasies, pre-staged compositions, large scale images and limited editions of prints brought this artist international recognition with many opportunities for artists-in-residence and other creative programs. In his work Robo Kočan combines a variety of aesthetic approaches in a rare ratio; the systematic method with an unceasing need to discover the novel, technical excellence with poetry, and an entertaining playfulness in combination with dark journeys into our unconscious. His photographic series reflect both his need and ability to employ reality as a backdrop for the creation of his fantasies. Through his art Kočan doesn’t aim to escape from reality but to broaden the perception and deepen the awareness of elements hidden beneath the surface of everyday life. His artistic work is characterised by a systematic review of photography as a medium and an exploration of the possibilities of its extension. Robo Kočan has the ability to “see the anticipated”. The anticipated and wanted, buried deeply in the subconsciousness, which transports us through the “lines of light”" of his photographs by means of an inconsiderate – ironic, but also poetic, to a childish playful view of the world. Robo Kočan connects parallel worlds. He balances the noise of the city with the silence of nature, he casts doubt on reality through fiction, and draws light into darkness. He often travels, travelling around for meditation and the diversity of other countries and cultures, in order to add perceptions and emotions into his photographic images. For him, photography has never been an authoritative documentary tool, but a storyteller, a medium that can reveal the imperceptible layers of everyday life, his reality, which, for a moment, can also be ours.

Visual Aesthetics of the Digital Media

Author(s): Svitlana Merkulova,Svitlana Pryshchenko / Language(s): English Issue: 2/2022

The article presents the results of study stylistics and visual imagery of new communications – digital media. The relevance of the topic lies in the growing use of computer technologies in visual communications: media design, web design and advertising. Multimedia as a fundamentally new type of communication has acquired its own senses, meanings and images. Therefore, the value of the study lies in the theoretical generalization of web graphics development outlook from visual aesthetics perspectives. A number of scientific methods, such as system-structural, sociocultural, axiological and comparative were used to achieve this goal. The authors emphasize that advertising information must have metaphorical language, attractiveness, concise and clear declarations of product or service characteristics, authentic composition, non-standard perspective, contrast and a harmonious colour scheme to ensure the functionality of each message promoting a particular idea. It is emphasized that any electronic product (website, animation project, commercial, Internet banner, presentation) is the result of the implementation of creative, technological and organizational components of design activities to meet public information needs. The obtained scientific results deepen the idea of graphics, generalize its communicative and artistic-aesthetic aspects and enable defining new ways of visual art at the conceptual and prognostic levels.

Ten Years of Flowing Reality

Author(s): Monika Stacho / Language(s): English Issue: 2/2022

ДО ПРОБЛЕМИ ВЗАЄМОДІЇ МИСТЕЦТВА ТА ПОЛІТИКИ В КОНТЕКСТІ СУЧАСНОЇ КУЛЬТУРИ

Author(s): Anastasiia Nikolaevna Tormakhova / Language(s): Ukrainian Issue: 2/2022

The purpose of the article is to outline the problem of interaction between art and politics in the context of modern socio cultural space. The research methodology involves the use of the method of synthesis to determine the specifics of art and its role in the context of today's culture. The method of analogy was used to outline common dominants in modern European mural art, which is dedicated to Ukraine. An analytical approach was used to determine the correlation between art, culture, and politics. Scientific novelty. The relationship between art and politics within the modern cultural space is outlined. We need to strengthen control in the field of cultural policy over artistic content, which reaches a wide audience, and to achieve a balance between freedom and responsibility in the individual creative activity of the artist. Conclusions. Art is an expression of those cultural and political processes that take place in society. It forms a certain worldview, and acts as a means of struggle, the bearer of a certain ideology. An important task in this regard is the need for expert evaluation of the art product. In the absence of official censorship, it is necessary to prevent violations of moral, ethical and religious norms. During the war, the role of art in human life is even more important, because it is formed under the influence of political processes and significantly affects consciousness. It is important to achieve a correlation between the freedom and responsibility of the artist when he is free to choose the content and form of his own works, given the impact he has on the viewer. On the example of murals that appeared in Ukrainian and European cities during the beginning of the full-scale invasion of Russian troops, we can trace the presence of common features manifested in the specifics of themes, images, symbols, colors. They are the driving force of cultural and ideological support for Ukraine in the struggle for freedom.

Kako je umjetnost iskupila feminizam i kolektivizam

Author(s): Mirela Ramljak Purgar / Language(s): Croatian Issue: 3/2022

Nakon prolaska izložbama velikog formata, kao što su kasselska Documenta i venecijansko Bijenale, uvijek se postavlja pitanje što je donijela jedna, a što druga izložba, u čemu su sličnosti i koje su razlike. Ono što je na prvi pogled vidljivo i što je kod mnogih promatrača vjerojatno izvuklo uzdah olakšanja u Veneciji, a nakon što su obišli paviljone i urbane lokacije Documente, jest impozantna količina same umjetnosti, jer u Kasselu ona kao da je u drugom planu, a u ime strukturalističke ostavštine analize odnosa među jedinicama značenja, s obzirom na konačnu strukturu, objavu istine, ali u obliku sheme, obrasca. Odnosi, a ne umjetnost, to je tema kasselske Documente. S druge strane, umjetnost, ona dosad nepriznata i nepoznata, da — ženska, izašla je u Veneciji hrabro pred oči javnosti i od vremena kritičkog eseja Linde Lochlin »Zašto nema poznatih umjetnica?« iz 1970– ih godina uistinu u ovakvim razmjerima nikada nije bila objavljena javnosti.).

ВІДНОВЛЕННЯ КИЄВО-ПОДІЛЬСЬКОЇ ПОКРОВСЬКОЇ ЦЕРКВИ В 1950-Х РОКАХ: МОНУМЕНТАЛЬНИЙ ЖИВОПИС ЛІДІЇ СПАСЬКОЇ

Author(s): Labzin Vyacheslav / Language(s): Ukrainian Issue: 3/2022

The purpose of the article is to find out the history of Lidia Spaska's painting during the restoration of the Kyiv- Podil Pokrovska Church in the 1950s, and its iconographic and stylistic features. The research methodology is based on the application of archival and bibliographic searches, which enabled finding and highlighting the unknown facts; iconographic and iconological methods, which made it possible to analyse the development of plots, and the method of comparative evaluation allows to clarify the peculiarities of the artist's approach to their interpretation. The scientific novelty consists in the introduction into scientific circulation of previously unknown materials about L. Spaska's participation in the restoration of the Kyiv-Podil Pokrovska Church in the 1950s; in the first attempt at an iconographic and iconological analysis of her monumental paintings in this restoration process. Conclusions. It has been established that Lidia Spaska was the author of the monumental painting of the Kyiv-Podil Pokrovska Church. The following works belonged to her brush: two compositions “The Entombment” and “The Resurrection” in half-domes; two wall paintings in the northern and southern arms – “Ascension of Virgin” and “Apparition of Virgin on Mount Pochaiv”; paintings of the drum of the central dome and elastic arches. These works have not survived in their original form to our time. The iconography of the images gives reason to believe that L. Spaska did not use fixed subjects, but on the basis of her knowledge and experience tried to interpret or adapt them to the wishes of the customer, as evidenced by their iconographic analysis. The compositions of all works are subordinated to the architectural space and are organically perceived in the general interior of the temple. In her painting, L. Spaska focused on the fine modeling of the face, giving it increased attention, while the clothes and the background were painted more generally; the figures are characterised by expressive silhouette and movement. Losses and later renewals of paintings do not allow us to draw general conclusions about the color and its features.

Detské prekoncepty o pojmoch múzeum a galéria a ich vizuálna podoba

Author(s): Daniela Valachová / Language(s): Slovak Issue: 4/2022

The paper presents a research probe of a broader conceived research plan, which is constituted in the topic of children's pre-concepts about the concepts of museum and gallery. The aim of the research probe is to convey the results of the analysis of children's naive theories in connection with the above concepts.

THEODOR AMAN, 190 DE ANI DE LA NAŞTERE

Author(s): Radu Moţoc / Language(s): Romanian Issue: 1-2/2021

The article states the essential data related to Theodor Aman's activity, the first academic painter, the promoter of modernity in Romanian art. It also presents postages, containing four stamps and two "first day" envelopes, which hold reproductions of paintings by Theodor Aman, who was considered until the end of his life the best painter -Romanian engraver.