scholarly journals Contemporary Artistic Enamel: Stylistic and Innovative Development Trends

2020 ◽  
Vol 10 (4) ◽  
pp. 586-608
Author(s):  
Irina Yu. Perfilyeva ◽  
Keyword(s):  
Three Dimensional ◽  
Arts And Crafts ◽  
Russian Art ◽  
Avant Garde ◽  
Decorative Art ◽  
Three Dimensional Objects ◽  
Plastic Arts ◽  
Art Objects ◽  
History Of ◽  
The Creation

Artistic enamel from the 1920s to the 2010s, has experienced a difficult path of development. In the early twentieth century, it represented a variety of techniques in regard to the artistic processing of metals. Today, it is an independent type of plastic arts, which synthesized both technical and technological innovations, as well as stylistic features of contemporary art and current artistic practices. In the history of artistic enamel several stages are clearly visible. The beginning of the process lies in the penetration of the principles of easel art into decorative art, which occurred in the first post-revolutionary decade due to the participation of leading masters of the Russian avant-garde in the creation of enamel works. During the second stage, the artists of the next generation attempted to combine the principles of easel painting with the national traditions that prevailed in the centers of folk arts and crafts. The third stage was inspired by the entry into the process of monumentalists and the active participation of Russian artists in international creative enamel symposia. In the fourth stage, the role of a structuring factor in the development of domestic enamel art was played by individual creative workshops that opened in different regions of Russia. Easel enamel of the 2010s is characterized by the multidimensionality of the artistic space, the creation of enamel works at the junction of different types of characteristics: both traditional and contemporary. These are classic “paintings”, panels and easel three-dimensional objects in which enamel is combined with other materials, but also monumental and decorative art objects and digital painting in enamel. Contemporary Russian art enamel represents an independent type of plastic arts, in which, in addition to traditional ones, there are numerous innovative author’s technical and technological techniques as well as methods of work.

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

The history of 3D printing in healthcare

2014 ◽  
Vol 96 (7) ◽  
pp. 228-229 ◽  
Author(s):  
Matthew Whitaker
Keyword(s):  
3D Printing ◽  
Three Dimensional ◽  
3D Printer ◽  
Three Dimensional Objects ◽  
History Of

On 8 August 1984, Charles W ‘Chuck’ Hull filed US patent number US4575330 A, for Apparatus for production of three-dimensional objects by stereolithography. 1 Chuck’s apparatus was, in effect, the world’s first 3D printer.

scholarly journals WORK OF NIKOLAI TSIVCHINSKII: CONTRIBUTION OF THE BOYCHUK SCHOOL TO THE ART OF KAZAKH TAPESTRY

2021 ◽  
pp. 103-118
Author(s):  
Sergali Suraganov ◽  
Zubaida Suraganova
Keyword(s):  
Arts And Crafts ◽  
Methodological Innovation ◽  
Avant Garde ◽  
New Information ◽  
Biographical Approach ◽  
Significant Phenomenon ◽  
History Of ◽  
The Republic ◽  
Life Path ◽  
Art School

The purpose of the research is to introduce the creative achievements of N. Tsivchinskii into scientific use in the context of the formation of the art school of the Ukrainian avant-garde of Mykhailo Boychuk. The study’s objectives are to determine the origins of the formation of the muralist and arts and crafts master N. Tsivchinskii’s work, his contribution to the shape of the history of the Kazakh professional tapestry. His work reflects the penetration and deep insight into the significance of traditional cultural identity, the Boychuk school’s monumentalism inherent. One of the few surviving Boychukists who were scattered to the four corners of the earth by fate, N. Tsivchinskii developed the versatile skills, artistic language, and tradition of the Boychuk school also became one of the brightest figures in the Kazakh decorative and applied arts. The life path and work of N. Tsivchinskii reflect the most critical and tragic chapters of the country development thoroughly, which is no longer on the map. The research methods used are biographical, source-based, and historical. The methodological innovation of the research is the use of the biographical approach along with the historical one in the framework of the “new comparative history” as an effective tool for studying the artistic heritage of Kazakhstan and Ukraine in the Soviet era. The scientific novelty of the study is determined by the introduction of new information about the artist, whose work was only mentioned in the context of the Boychuk school scholars’ activities, a significant part of whose followers were destroyed during the years of the Red Terror. Conclusions. The work of N. Tsivchinskii is considered in the context of the activity of the art school of M. Boychuk, where he became an arts and crafts master. In the 1930s, in Kazakhstan, N. Tsivchinskii continued the traditions of the Boychukists, became the founder of the first carpet cooperative craft society, which became a truly significant phenomenon in the history of the formation of professional decorative and applied art in the republic.

scholarly journals Le Corbusier y Charles Lasnon: De las maquetas blancas de los Salones de Otoño a los plan-reliefs del nuevo urbanismo

2015 ◽  
Author(s):  
Miguel Angel De la Cova Morillo
Keyword(s):  
Three Dimensional ◽  
Le Corbusier ◽  
Arts And Crafts ◽  
New Techniques ◽  
Avant Garde ◽  
The Arts ◽  
Palabras Clave ◽  
Scale Models ◽  
Siglo Xx ◽  
Made In

Resumen: El “mouleur” Charles Lasnon representa la convivencia que durante el primer tercio del siglo XX se dará entre las Artes y Oficios y las nuevas técnicas de representación vinculadas a la fotografía. Lasnon realizará para Le Corbusier una serie de maquetas que presentarán sus propuestas a escala doméstica y urbana, primera aproximación a una expresión tridimensional de sus teorías: los modelos 1:20 de los Salones de Otoño en 1922 y 1923, a camino entre el objet-type y la escultura de vanguardia, y las del “Urbanisme á trois dimensions” del Plan Obus y Nemours. Las maquetas de las Villas se establecerán como “manifiestos estéticos y arquitectónicos”. En ellas se ensayarán principios teóricos plásticos, previos incluso a una idea de construcción, indagaciones que abren la puerta a transferencias entre la representación a escala realizada en yeso y la arquitectura a realizar. Por otra parte, la vinculación de Lasnon con el Service Geographique de l’Armée le familiarizará con las nuevas técnicas de representación del territorio. Así, realizará los Carte-Relief de Argel coetáneamente a la ejecución de las maquetas de las propuestas urbanas argelinas de Le Corbusier, garantes no sólo del rigor geométrico de sus postulados: quedan en ellas registradas el paisaje original, cuya topografía se modela y manipula como si de un trabajo plástico se tratara. Utopías en busca de un lugar imaginado sobre un trozo de yeso. Abstract: Charles Lasnon, "mouleur",represents the coexistence between the Arts and Crafts and the new rendering techniques related to photography that took place in the first quarter of the twentieth century. Commissioned by Le Corbusier, Lasnon made in those years several models that represent his new proposals at a domestic and urban scale. That was the first approach to a three-dimensional expression of his theories –the scale models of 1:20 from "Salon d'Automne" in 1922 and 1923, which were halfway between objet-types and avant-garde sculptures, and the theories of "L'Urbanisme à trois dimensions" from Plan Obus and Nemours. The scale-models of "Villas" were established as “aesthetic and architectural manifestos”. They were used to test theoretical and plastic principles, formulated before the idea of construction. These tests resulted in "transfers" between plaster-craft scale models and the architecture to be built. Additionally, the links between Lasnon and the “Service Geographique de l’Armée” enabled him to be familiar with new techniques to represent landscape. Thus, Lasnon made the Carte-Reliefs d'Argel at the same time as Le Corbusier made the models for the urban proposals in Alger. These models not only guarantee the geometrical accuracy of his proposals, but also capture an original landscape whose topography is modeled as if it was a plastic craftwork. Utopias seeking an imaginary place on a plaster slice.  Palabras clave: maqueta; moulage; Charles Lasnon; urbanismo; plan-relief; Salón de Otoño. Keywords: model; "moulage", Charles Lasnon; urbanism; plan-relief; Salon d'Automne. DOI: http://dx.doi.org/10.4995/LC2015.2015.729

scholarly journals Tradition and Innovation in the Work of Bashkir Artist Talgat Masalimov

ICONI ◽  
2019 ◽  
pp. 147-156
Author(s):  
Elsa E. Purik ◽  
◽  
Akhmadullin Mars L. ◽  
Shakirova Marina G. ◽  
◽  
...  
Keyword(s):  
Visual Arts ◽  
Avant Garde ◽  
The Core ◽  
The Past ◽  
Plastic Arts ◽  
Graphic Artist ◽  
Republic Of Bashkortostan ◽  
Applied Art ◽  
The Creation ◽  
The Republic

The article is devoted to the artistic legacy of Merited Artist of the Republic of Bashkortostan Talgat Masalimov — painter, graphic artist and master of decorative applied art. his work is examined in the article in the context of the processes taking place in the contemporary visual arts, marked with an exploration of new plastic means. The authors regard the legacy of Masalimov as a vivid example of the simultaneous infl uence of folk art, its symbolism and graphic structure, Eastern (Turkic) traditions and those of the Russian avant-garde with its aspiration towards primitive, laconic, conditional forms. The article cites examples among works of the artist created in the technique of graphics, pastel and artistic felt. At the core of the creation of these works lies the knowledge of principles of construction of the composition and depictive techniques characteristic for the Russian avant-garde and Early Russian icon-painting and Iranian miniatures, with an absence of direct associations with any concrete epoch or artistic direction. The authors see in the work of the artist a vivid example of the preservation and expansion of the heritage of the past, its development and enrichment by means of contemporary plastic arts.

scholarly journals BORIS TISHCHENKO. THE TWELVE. CREATION HISTORY AND BASIC COMPOSING PRINCIPLES

Globus ◽  
2021 ◽  
Vol 7 (2(59)) ◽  
pp. 15-18
Author(s):  
Yuri Serov
Keyword(s):  
Twentieth Century ◽  
Soviet Union ◽  
Avant Garde ◽  
Music Score ◽  
The Soviet Union ◽  
History Of ◽  
Clean Air ◽  
The Creation ◽  
Symphonic Music

The article is devoted to the history of the creation and music score of the ballet Twelve based on the poem by A. Blok by the outstanding Russian composer of the second half of the twentieth century Boris Ivanovich Tishchenko. The ballet was staged by the famous Soviet choreographer Leonid Jacobson back in 1964 and became, in fact, the first avant-garde ballet in the Soviet Union. Critics noted Tishchenko’s bright modern symphonic music and Jacobson’s free plastics, which “became a breath of clean air in the rarefied atmosphere of classical epigonism”.

scholarly journals History of One Portrait

2019 ◽  
Vol 29 (1) ◽  
pp. 32-38
Author(s):  
Sophia Shemyakina
Keyword(s):  
Optical Glass ◽  
Art Museum ◽  
Arts And Crafts ◽  
Stained Glass ◽  
Music Theater ◽  
Russian Art ◽  
Art Works ◽  
90Th Anniversary ◽  
History Of ◽  
Decorative Glass

Irkutsk Regional Art Museum exhibition opened in September 2018 commemorated the 90th anniversary of the birth of Boris Timofe­evich Bychkov, Russian folk artist, corresponding member of Russian Art Academy, member of Irkutsk Regional Union of Artists and master of decorative glass. He had lived and worked in Irkutsk since 1962. A native of Moscow he graduated from Mukhina Leningard Higher Arts and Crafts College. For many years, he was an art director of Gusev glass manufacturing plant in Gus-Khrustalny. In 1962, he moved to Irkutsk and dedicated his whole life to Siberia. These are some of his art works known to natives of Irkutsk: stained glass windows «Irkutsk» in the hotel «Inturist», «The Blue Bird» in Bratsk community center, chandeliers in Irkutsk Music Theater, «Vostoksibsantechmontazh» and «Agrodorspecstroy» companies, and ornamental designs «Frozen sounds» and «Victory» in Irkutsk Art Museum Collection. Most of his designs and artifacts are stored in warehouses and are on exhibit in Irkutsk Art Museum, and all of them were featured in an exhibition. Besides the artist’s works, there were two other art works on display — «Portrait of B.T. Bychkov. Mural» and «Portrait of B.T. Bychkov on the optical glass» by painter-jewelers Natali and Arkadyi Lodyanovyh. This article is about the creative works of the glassware art artist himself and the story behind his portrait.

scholarly journals ON THE IMPLEMENTATION OF THE A. BLOK’S POETRY IN THE SYMPHONIC SCORE OF B. TISHCHENKO'S BALLET THE TWELVE

ASJ. ◽  
2021 ◽  
Vol 2 (55) ◽  
pp. 04-08
Author(s):  
Y. Serov
Keyword(s):  
Soviet Union ◽  
Russian Art ◽  
Modern Language ◽  
Avant Garde ◽  
The Soviet Union ◽  
History Of ◽  
Stage Performance ◽  
The Relationship

The article examines the relationship between music and poetry in the ballet The Twelve by the outstanding Russian symphonist of the second half of the XX century Boris Ivanovich Tishchenko (1939–2010). The performance by the famous choreographer L. Yakobson, staged at the Kirov Theater in Leningrad in 1964, became one of the first avant-garde ballets in the Soviet Union. The study focuses on the different approaches of the composer and choreographer to the stage performance of A. Blok's poetry, which led to serious creative disagreements and even conflicts during the preparation of the premiere. Tishchenko in his reading relied on Blok's verse, its rhythm, size and complex, sometimes unexpected semantics. The speech beginning in The Twelve is quite tangible, the composer often follows Blok's lines literally. They now and then emerge in the flow of music, controlling it not only in the figurative-semantic and plot plans, but also in the rhythmic-intonation. The article concludes that Tishchenko's work has led to an impressive artistic result: the ballet score is written in a fresh, original and modern language. Tishchenko's music became the basis of the first avant-garde Soviet ballet performance and, in this context, firmly entered the history of Russian art

scholarly journals Holiday parades in Ottoman miniature of the XVI–XVIII centuries

2018 ◽  
Author(s):  
Татьяна Хамзяновна Стародуб
Keyword(s):  
Ottoman Empire ◽  
18Th Century ◽  
World History ◽  
Avant Garde ◽  
Decorative Art ◽  
Action And Perception ◽  
The World ◽  
History Of ◽  
And Performance ◽  
Early 18Th Century

В мировой истории искусства встречаются события, которые можно интерпретировать как подателей идеи создания художественной композиции, рассчитанной на действие и восприятие не в замкнутых интерьерах дворца или храма, а в обширных общественных пространственных зонах. Нечто подобное произошло в официальной культуре Османской империи периода XVI – 1-й трети XVIII века. Одним из проявлений творческого подъема страны в это время было развитие монументального оформительского искусства театрально-декорационного характера. Источником наших знаний об этом виде творчества служат тексты и иллюстрации рукописей особого жанра – Сюрнаме, или «Книги празднеств». Две рукописи этого жанра – 1580-х годов и 1730-х годов, обильно и красочно иллюстрированные исторически достоверными изображениями праздничных парадов, позволяют предположить зарождение таких явлений авангардного искусства XX века, как инсталляция и перформанс в далёком прошлом. In the world history of art one occurs with events that can be interpreted as generators of the idea of creating an artistic composition designed for action and perception not in the closed interiors of a palace or a temple, but in vast social spatial zones. Something similar happened in the official culture of the Ottoman Empire in the 16th – first half of the 18th century. One of the manifestations of the country's creative rise at that time was the development of monumental decorative art of a theatrical-scenery character. A source of our knowledge about this kind of creativity is the texts and illustrations of manuscripts of a special genre – Surname, or "The Book of Festivals." Two manuscripts of this genre, dating from the 1580s and 1730s, and abundantly and colorfully illustrated with historically authentic images of festive parades, suggest the emergence of such phenomena of avant-garde art of the twentieth century as Installation art and Performance art in such a distant past as the Ottoman Turkey from the 16th to early 18th century.

The visual arts

2021 ◽  
pp. 121-170
Author(s):  
Steven Brown
Keyword(s):  
Visual Arts ◽  
Dimensional Reduction ◽  
Performing Arts ◽  
Three Dimensional ◽  
Two Dimensional ◽  
Specific Process ◽  
Three Dimensional Objects ◽  
Art Objects ◽  
Static Nature ◽  
Two Dimensional Images

The visual arts, as compared to the performing arts, are defined by their static nature as fixed objects. However, visual art objects often have a ‘dual static/dynamic’ nature that allows them to convey a sense of both motion and emotion, especially when they depict human models. As a result, such objects appear to viewers as frozen snapshots of ongoing actions or gestures. The most art-specific process for the visual arts is the production of two-dimensional images. Compared with the production of three-dimensional objects, two-dimensional images require a dimensional reduction in order to create a flattened representation of a scene on a surface. Drawing is thus the ultimate visual arts activity.

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