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Јурај Ћулиновић, или, како се на својим сликама сам потписивао: Sclavonus Dalmaticus Squarcioni Discipulus, или Scholaris родио се у Скрадину између 7. децембра 1433 и 7. децембра 1436 (наиме, у уговору што га поново склапа са својим учитељем по имену Francesco Squarcioni у Падови дана 7. децембра 1458, каже он »se fore etatis annorum XXII minorem tamen XXV«), али је већ зарана дошао у Шибеник, гдје су му и отац Тома а и стричеви Никола и Јурај имали посједа.
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O Andriji Meduliću kod nas se je vrlo malo pisalo; a i ono što se je pisalo, pisalo se bez osobite spreme i bez dovoljne kritike. Mi, danas, ne mislimo da ispravljamo tudje greške i stavove, niti da popunjujemo praznine naše umjetničke istorije; želimo jedino da dademo jedan prigodan prikaz o Medulićevu porijeklu, životu i radu, i to ni zašto drugo nego jer ga je Karlo Ridolfi, prvi njegov biograf, nazvao Šibenčaninom.)
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The mini-essay of the column draws attention to the fact that the direction of our interests in the cultural field is mostly defined by the guidance of certain professionals (masters). In this particular situation the author shares with us, who was her guide to the recently departed Dezső Tandori or how, through Tandori, she found the children’s books illustrator Írisz Agócs.
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This research aims to analyze the exhibitions activity of the Aparte Gallery of “George Enescu” National University of the Arts in Iași, from 2005 to 2020, respectively artistic projects created by students, teachers or guest artists of the Faculty of Visual Arts and Design. The multitude of artistic events formats includes exhibitions, workshops, conferences, book launches, residencies, bachelor and dissertation exams, and highlights the versatility of the gallery that has evolved, over time, into a real space of contemporary artistic projects, which encourages the artistic research and experiment in all FAVD’s specializations. The aim of the research is to relate the diversity of the artistic event formats, their the matics and mediatic variety, within the institutional context of university art education.
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One of the most important tests through which the cultural vitality of an artistic community can be examined is art criticism. Art criticism has the role of analysis, interpretation and evaluation of artworks, having important responsibilities to the public interested in the visual artistic phenomenon and also to the evolution of artistic taste. The comments of art critics have managed to provoke public debates on art-related issues or have effectively contributed to the reception and promotion of artworks. The art critic creates a connection between the artworks exhibited in galleries or museums and the public who appreciate the aesthetic value of the works, in terms of explaining the context and the artistic phenomenon, so as to outline the communication between artists, critics and viewers, from the perspective of dynamics of new structures and forms of visual expression. In this context, the public formed through the visual education can be prepared and opened in receiving the aesthetic message of artworks.
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This paper achieves some landmarks regarding the appearance and evolution of engraving in Moldova within the medieval, modern and contemporary art periods and aims to highlight the evolution of engraving and achievements in the art of engraving in the historical territory of Moldova, but also to establish the basic stages of the evolution of engraving and regional interferences in relation to European engraving. If we follow the comparative evolution of the genus in various neighboring regions, we find that each area has its own specificity and particularities. The approach to this issue is related to the general aspects that conditioned the development of religious engraving, but also to the local tradition, which has evolved in close connection with the respective process in European countries.
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The author points out landmarks for a correct and efficient reception of the texts from the mural paintings, defining and re-defining, structuring and commenting on the defining terms of the two notions: the text and the artistic-plastic reception. The emphasis is on the specificity of the reception of the artistic-plastic image, which is epistemic and praxiologically different from the usual reception. At the same time, the perception of the visual space is highlighted, in which the images and the accompanying text are integrated. It addresses the relationship between the two notions of text and image in visual art works, their importance being enhanced by the status of the image, as a product of an interaction between sender and receiver and, at the same time, as a place of transition to the mentality that generated a. Being about representations included in an iconographic program, the defining features of the icon are highlighted - as an object of representation of a text and as an object-means of transmitting /communicating a written message/implicit to the genre.
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The content of the article refers to a current artistic experience of the sculptor Oleg Dobrovolschi that built himself on the artistic foundation of the past, then providing a solid support for future creations. The methods and techniques that we have learned over time, through our own experience and effort, have contributed to the creation of modern and very expressive plastic forms. The materials, the specific tools of the sculpture, I used in a unique and personal way. The creative process, itself, remains something different from existing, deductive, inductive, suggestive, perceived and understood, but also different in nature. Thus, a form taken from nature and transformed into plastic can become an artistic form. The symbiosis of all this: materials, techniques and the creative process, masterfully handled by the creative spirit, produces the work of art. The artistic form created in sculpture now acquires aesthetic values of society’s education and brings a plus to its change.
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This work proposes a comparative study between the field of design and plastic arts. The study highlights the most important principles of plastic and semantic realization used in both fields, therefore following the exposure of common tangents in image creation. In this process, the most responsible and important issue addressed in both cases is identified - aesthetic formulation. The basic criteria in the harmonious realization of the artistic image are identified, taking into account some legalities and norms of aesthetic beauty. Thereby, it is found that, through the chain of aesthetic value, the issue of study and practical realization of design and plastic arts, is synchronized and associated in a common goal focused on the benefit of human sensory perception.
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The article examines the conceptual dimensions of artistic culture, presents its constituent elements, functions and purpose as a privileged social phenomenon. As well as, the existential-anthropological significance of artistic culture / art focuses on deepening spirituality, preserving the truthfulness of man, having a fundamental role in humanizing and orienting human personality. There are analyzed the formative dimensions of artistic culture and the ability to influence the human personality through the phenomenological peculiarities of art; its symbolic and philosophical essence referential to the affective and rational background of the human being; the relational interdependence between the level of artistic education and the ability of the artistic activity and respectively the level of the artistic culture of the society / personality.
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The form represents the external configuration, the appearance under which the objects and things of the surrounding world are presented. In the fine arts, form is the result of the creative process and includes the idea or concept that underlies the art work. The form, depending on its configurations, acts directly on the perception, accessing the deepest associative - intuitive levels of memory, through special psychic mechanisms. The human brain prefers simple and orderly things and forms, which it instinctively considers safer and more productive; facing complicated forms, the brain tends to mentally reduce them to simpler forms. All shapes in the universe can be simplified and consciously brought back to simpler geometric shapes, a principle accepted especially by painting and drawing.
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This paper focuses on the history of contacts between Leopold Nowotny, a Polish painter of Czech origin who spent almost his entire life in Rome working within the circle of artists associated with Friedrich Overbeck, the Nazarenes movement, and Cyprian Kamil Norwid. In light of the discovered legacy of Nowotny, I contextualise his profile in respect to Rome’s cultural background during the years 1835–1875 and the Polish artistic colony on the Tiber; I also try to shed some light on the links between Nowotny, Norwid, the Odescalchi family, and several cultural and social activists (the circle of ultramontanists). From an ideological perspective, in Nowotny's work an important role was played by way he developed a narrative aimed at building the Slavic and Christian community. Other significant features examined in this paper are the reference to the canon of Nazarene art as well as the attempt to establish his own ideological and artistic canon.
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The paper is dedicated to Polish women artists involved in poster design during the People’s Republic of Poland, an area of graphic design still considered a male domain at the end of the 20th century. The text provides a brief overview of women’s activity in this discipline – from the situation of the first Polish female poster artists creating posters as design duos or advertising companies in the 1930s, through the artistic education and achievements of female poster designers during the communist era, to the turn of the 20th and 21st century, when a fundamental change in the status and perception of the work of Polish female designers occurred. The paper attempts to answer the question why the output of Polish female poster artists is very poorly represented in numerous studies devoted to the Polish poster of the 20th century and why in the case of married couples of artists involved (individually) in poster creation, recognition and prestige usually went to the man. Overlooking the role of women in this field is also evident in the contemporary discourse on the Polish poster art, notably in studies focused on the Polish Poster School which, almost exclusively, recognize the male representation in this phenomenon.
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The article briefly presents the creation of the artist Victoria Cozmolici. The painter formed her style during the studies and creative camps in various European countries. In her creation, the artist shows a predilection to all types of easel painting, portraits of women and young girls, static natures with fruits and flowers, urban landscapes. The basic motif in the painter’s landscapes is inspired by the old part of Chisinau. Through a synthetic form, core form specific only to the author, the paintings are often interspersed with large pauses created by decorative spots, consisting of flat touches of the blade knife, often passed through colored grays. Victoria Cozmolici exposes her paintings always convincing the audience with an original concept, vision and his own style
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This article discusses Disco Elysium in the context of the development of game making communities in Estonia and international production networks. Drawing on an analysis of secondary sources, in-depth interviews and a survey with game makers in Estonia, this article contributes to studies on national and regional game production cultures. The aim of this article is two-fold. First, it contributes to studies of game production cultures by discussing the development and structure of game-making communities in Estonia. As such, it enriches the understanding of game production in Europe by providing empirical data about game making in Estonia. Second, based on the example of Disco Elysium, the article demonstrates how national, regional and international production networks contribute to the spatial politics of game production. In conclusion, this article emphasizes the importance of the construction of space in game production and the asymmetries of power among game production regions.
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Volunteer community moderators are at the centre of a multitude of conflicting views in the media and society, while being continually exposed to inappropriate content and risking their mental wellbeing. On Reddit.com, their specific interest in a topic drives them to volunteer for moderation responsibilities to nurture the participatory community; however, this puts them in the uncertain position of being neither a member of the community nor a representative of the social media platform tied to the community. By adopting Nico Carpentier’s concept of participation as a site of political–ideological negotiation, this article explores the precarious conditions and expectations of community moderators around digital games after the 2020 COVID-19 struggles, with more people turning to social media, which increases demand for platform moderation. The study is based on semi-structured interviews with community moderators associated with online media communities (subreddits) of different games on the social media platform Reddit. It draws two conclusions: Firstly, the field of subreddit moderation involves multiple actors, such as content creators, content generators, moderators, and game studios. Here, moderators hold an assumed absolute power in two processes of decision-making: (1) ensure that content abides by the sitewide rules and subreddit specific rules; and (2) promote content that is sensitive to the subreddit’s cultural context. In decision-making moments, the tools that are afforded to moderators from the Reddit platform put moderators at a disadvantage, as they are forced to implement their decisions using negative reinforcement as opposed to achieving change in the subreddit through positive reinforcement. Secondly, community moderators exist within a participatory process of checks and balances, making any moderation actions a double-edged sword where any intervention by moderators can result in backlash or disagreement from content creators and content generators, and material advantages largely determine actors’ involvement in these participatory processes.
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In recent decades we have witnessed technological and scientific progress and breakthroughs at an unprecedented rate. We, as humankind, have become technologically advanced, globally connected, informed, all of which reflect traditional ideas of the steady progress of civilization. But at the same time, we face many challenges brought about by climate change, air pollution, water shortage, extinction of species, and other natural disasters. Through an overview of the concept of the Anthropocene from the perspective of philosophy and critical theory, I will discuss alternative approaches to addressing the ecological crisis. Although the key actors in these endeavors are usually scientists, governments, and multinational corporations, I will examine the ways arts and culture significantly contribute to the projects of crisis mitigation. Finally, I turn to MetaGarden, a series of works created by media artist Tanja Vujinović, which epitomize the visions of a more sustainable future(s).
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