Metamorphoses of Portrait Genre in Russian Art at the Turn of the 18th–19th Centuries

The article is dedicated to the research of changes in the development of portrait painting in Russian art at the turn of the 18th–19th centuries. A more common approach in the academic literature is a study of typological variants for the portrait image within the stable system, formed under the influence of classicism, or the review of a new concept in portrait painting, embodied by the artists of Romantic period. In that regard the transitional stage, related to the fundamental revision of portrait’s nature as a specific genre, lacks the close attention of researchers. The crisis of Enlightenment’s ideals at the end of the 18th century causes a rethinking of the relationship between a person and the outside world. This tendency directly influences the art of portraiture, which is now distinguished by more expressed dynamism of image. This is particularly important to the national tradition of portrait painting in the 18th century, which before showed the static approach for the representation of model and the moderation of portrait characteristic. Meanwhile, the fluidity becomes not only a method of artistic expression in a single work, but also a guiding principle for the modification of portrait painting at the system level. In other words, there is a new understanding of the fundamental categories inherent in the portrait genre: the popularity of more compact forms of portrait art, the ratio of ceremonial and chamber trends, new relationships between the master and the model, the active interaction of the individual and the surrounding nature. The interest in English culture also plays an important role in these processes. Despite the transitional nature of the era and external influences, Russian portrait painting at the turn of the 18th–19th centuries remains one of the main national features of genre — the prevalence of semi-ceremonial variants of image.

Iconography Underpinning Malaysian Portrait Painting

Malaysian portrait paintings were introduced in the 1930s where local artists started using the subject in their art-making. In art, portraits are generally known as the likeness of a person, especially a face and shoulders, but in fact, there are more ways to define portrait and painting. There is a lack of understanding and interpretation on the subject. Consequently, this study aims to trace the chronology of the development of Malaysian portrait paintings. The stylistic and contextual issues, including its formalistic format, media, themes and styles, and artists, are also examined in this study using a mixed-mode of research method. Keywords: Portraits; Painting; Iconography eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2936

NEW MEANS OF EXPRESSION IN PORTRAIT PAINTING OF ALEXEY AVGUSTOVICH (1960-s)

The article describes the portrait genre in the painting of the famous Dagestan artist A. Avgustovich. Examples of his creative searches and innovative incarnations, which expanded the artistic and stylistic structure of the Dagestan fine arts of the 1960s, are given. The emotional-psychological and figurative-specific characteristics of the disclosed characters, the richness and variety of the used means of artistic expression are investigated.

The “Sufi” Portrait in the Giovio Series

Founded in 1501, the Safavid state and the young leader of this state, Shah Ismail I, attracted the attention of European aristocratic dynasties, kings and religious leaders. Ambassadors, diplomats and merchants sent from Europe to Azerbaijan conveyed various information about Ismail to their homeland, and later these records and sources were published in books, albums and memoirs. Gradually, engravings and paintings depicting Ismail Safavid appeared in the European fine arts. Unfortunately, the descriptions of Shah Ismail I in the European visual arts have not been sufficiently studied. It is known that the portrait, taken as the standard of appearance of Ismail the First, was exhibited at the Paolo Giovio Museum in Como. The article examines the activities of Paolo Giovio, his famous museum and the portrait of "Sufi" in Giovio's collection. Key words: Shah Ismayil, Paolo Giovio, Italian art, portrait painting, Museum of Como, Safavid period

Portrait in Contemporary Russian Painting in the Context of World Art: A Typology of the Genre

In Russian fine art, portrait painting has been traditionally distinguished by extraordinary variety and depth, reflecting the figurative and stylistic searches of artists of different periods. Russian art historians have comprehensively studied the portrait genre in the history of art. At the same time, the well-established classification of genres does not allow to take into account completely the variety of trends and approaches to the depiction of a person in contemporary art. The understanding of the portrait genre’s boundaries in contemporary art is extremely blurred. Sometimes it means either any image of a person, or even the absence of one at all. It appears essential and important to consider the work of Russian artists in the context of international visual art practices to compose a more holistic picture connected with general cultural development. The article proposes to expand the established typology of the portrait genre adopted in Russian art. The already well-known typology of portrait painting can be updated with other types of portrait based on the semantic and semiotic analysis of artistic works of the late 20th — 21st century. It is important to study contemporary Russian portrait painting from the perspective of a variety of typological models, and to use the new language of contemporary art history to understand the processes taking place in Russian painting of the late 20th — 21st century, in order to facilitate the entry of Russian art into the international cultural context. An idea has been matured to create a National Portrait Gallery in Russia which would collect portraits and self-portraits of the greatest personalities of our era in a real and virtual space.

КӨРКӨМ АДАБИЯТТАГЫ ПОРТРЕТТИК СҮРӨТТӨӨЛӨРДҮН ТҮРЛӨРҮ, ЫКМАЛАРЫ

Ар бир адам бул личность, ал өзүнө гана тиешелүү сапаттарга, тулку-бойго, тилдик жана кыймыл-аракеттик адаттарга, адамды башкалардан айырмалап турган көз карашка дүйнө таанымга ж.б. ээ. Ошол себептен, адамдын образын чагылдырыш үчүн сүрөткер, аны ар тараптан карап, бардык тараптан баалап тартканга аракет кылат. Анын кийген кийиминен баштап, жүзүндөгү өзгөчөлүк, ой жүгүртүүсү, жашаган жери, социалдык абалы, табиятка болгон мамилеси ж.б. бардыгы кызыктуу, маанилүү. Адабиятта бул өзгөчө көркөм формага ээ болот. Автор адабий каарманды, образдарды мүнөздөп берүү үчүн сөз менен анын портретин түзөт. Макалада көркөм сүрөттөөнүн бир түрү болгон портреттик сүрөттөөлөрдүн принциптери, ыкмалы жөнүндө кеңири сөз болот. Каждый человек - личность, которая зависит только от его собственных качеств, тела, языка и поведенческих привычек, отношений, мировоззрений, отличающих его от других. Поэтому, чтобы отразить образ человека, художник старается посмотреть на него со всех сторон и оценить его со всех сторон. Одежда, черты лица, мышление, место жительства, социальный статус, отношение к природе - все это интересно и важно. В литературе это приобретает особую художественную форму. Автор создает портрет литературного персонажа, описывающийся его словами. В статье рассматриваются принципы и методы портретной живописи как формы художественного описания. Each person is a personality that depends only on his own qualities, body, language and behavioral habits, relationships, worldviews that distinguish him from others. Therefore, in order to reflect the image of a person, the artist tries to look at him from all sides and evaluate him from all sides. Clothes, facial features, thinking, place of residence, social status, attitude to nature - all this is interesting and important. It takes a special artistic form in literature. The author creates a portrait of a literary character describing him in words. The article examines the principles and methods of portrait painting as a form of artistic description.