Demiurge Ideas Technologies Perspectives of Design

Published by Kyiv National University of Culture and Arts
Print ISSN: 2617-7951
This issue of the journal is thematic. It covers topics raised in the all-Ukrainian scientific and practical conference "100 years of modernity: the Bauhaus and Ukrainian avant-garde". The authors of the articles focus their attention on the discovery and reinterpretation of ideas and methods of design of both artistic paradigms in the context of modern theory and practice. Their innovativeness and significance are indisputable. At the same time, if the Bauhaus has become a world legend, and the role of the school as the founder of modern design and architecture is a priori recognized by all experts, the phenomenon of the Ukrainian avant-garde still requires close attention, publicity, discovery of its identity and recognition of the status of the world heritage in design.
The purpose of the study is to identify the features of the use of postmodern techniques in poster projects of the period of the COVID-19 pandemic. Research methods. The methodological basis of the study is comparative and art analysis. The scientific novelty of the study is the consideration of the poster activity of the pandemic period 2020-2021 in the context of postmodernism. Conclusions. In the current poster projects of the quarantine period, postmodern features are clearly traced, which are manifested not only in the visual language of the works, but also in the ways of exhibiting and positioning posters in society and the media. The pictorial component is characterized by the use of metaphor as a universal method, as well as a combination of different styles, multiple approaches, the lack of a dominant vector in solving the visual image. The use of double coding, quotes, reminiscences, games, irony, etc. is revealed.
Мета дослідження полягає у виявленні внеску представників українського мистецтвознавства 1900-х рр. у справу визначення національних форм вітчизняної архітектури. Методологія дослідження базується на використанні комбінованого тематико-хронологічного підходу; опис публікацій поєднується з компаративним та порівняльним аналізами. Наукова новизна статті полягає у висвітленні початкової стадії формування уявлень про унікальні риси української архітектури в контексті суспільного запиту і провідних тенденцій загального художнього процесу зазначеного періоду. Окреслено чинники зростання уваги науковців вказаного десятиріччя до системного вивчення споруд України від найдавніших часів до ХІХ ст., зокрема, дерев’яних культових. Охарактеризовано праці відомих фахівців тих років: Г. Павлуцького, Є. Рєдіна, О. Новицького, В. Щербаківського, М. Макаренка, Є. Сіцінського та інших авторів. Вивчення названої проблеми в цих наукових роботах засновано на аналізі численної інформації як результату системної роботи багатьох науковців й аматорів з дослідження творів архітектури. Визначено наукові ідеї дослідників щодо еволюції форм даної галузі образотворчості та обґрунтування унікальності української архітектури. Висновки. Аналіз численної кількості першоджерел наукових публікацій дозволяє зробити висновок, що впродовж 1900-х рр. відбулося становлення концепції своєрідності національних архітектурних форм на всіх історичних етапах. Наукова аналітика характерних ознак українських архітектурних пам’яток різних періодів здійснювалася в ракурсі взаємозв’язків з мурованим зодчеством та з відповідними рішеннями інших історико-національних архітектурних шкіл. Історію української науки про мистецтво означеного десятиліття можна розглядати як історію ідей про національні форми образотворчості та архітектури. Провідна ідея унікальності української архітектури спрямувала і стала підґрунтям розвитку української науки про мистецтво в наступних десятиріччях.
Research aim is to cover and systematize cultural, artistic, scientific, and design projects dedicated to rethinking the period of Ukrainian constructivism in the 1920s and 1930s in the context of cultural reflection of Ukrainian society. The research methodology is to analyze the empirical material. Scientific novelty. The article for the first time organizes and analyzes cultural and artistic projects implemented in Ukraine over the past decade and aimed at revealing the power of this artistic and design phenomenon or rethinking its ideological foundations from the standpoint of contemporaries. In addition, the author argues that design is the most effective tool that allows us to convey the results of scientific reflection to the general public and influence the transformation of public consciousness in the direction of the goal – awareness of Ukraine as a carrier of a unique world cultural heritage. Conclusions. Significant intensification of public cultural reflection on the Ukrainian avant-garde of the 1920s and 1930s was caused, first, by the personal reflections of scientists and designers who design intellectual and material products. Secondly, the growth of the professional level of the institution of cultural management and a systematic approach to design, thanks to which personal reflections are transformed into spectacular content and spread among the public.
The aim of the research is to outline the trends of urban landscape in the works of artists of Stanislaviv region (Ivano-Frankivsk region since 1962) in 1920s and 1930s as a view of the representation of Avant-Garde styles in the regional art. The tendencies of urban landscape development with the emphasis on the searches for new principles of shape and form in the landscapes of Stanislaviv region artists of 1920s and 1930s are analyzed. Research methods. The research methods are based on the formal and stylistic method of art analysis of artists’ works, as well as on the comparative and structural analysis of concepts and phenomena of the artistic process of the studied period. The scientific novelty of the research is to identify the leading tendencies in the landscape creativity of Stanislaviv region artists and to determine the peculiarities of their painting and graphic landscapes stylistics. The range of artistic associations and their representatives’ activitity is based on the example of the urban landscape regional art model in the dialectics of traditionalism and innovation. Conclusions. Tendencies of city depiction of 1920s and 1930s, due to its multivariety of imaginative, stylistic, and compositional features, are characterized by reminiscences of European Modernism trends. They are depicted by innovative spatial forms and approaches to the composition arrangement of art works, colour interpretation, and synthesized with regional artistic representation. In the art tradition of the city image in the early 20th century, the tendency of a realistic manner with Impressionism perception of the surrounding reality is considered to be dominant. Instead, innovative tendencies, principles of shape, and stylistic features of the urban landscape in the Stanislaviv region painting of the first third of the 20th century are conditioned by the newest city aesthetics, the revival of artistic initiatives in the European cultural space and the integration of Modernism tendencies into the national art of the first third of the 20th century.
4: a, b, c. Similarity of additional fonts on posters: a) «Ukraziya», b) «Forest Beast» (horizontally), c) «Forest Beast» (vertical)
5: a, b, c The compositional similarity of the poster A. Martynov's «Forest Beast» (a) and the paintings by M. Caravaggio «The Unbelief of St. Tom» (b), «Christ is taken into custody» (c).
6: a, b. The imitation of the compositional scheme of the poster «Ukraziya» by A. Martynov by the Hollywood poster (?).
The aim of the research. Establishment of authorship of the well-known Ukrainian movie poster which was created by the unstated artist for a film «Ukraziya. 7+2», produced at the 1-st film studios of the All-Ukrainian photo and cinema management in Odesa. The general aim is liquidation of lacunas in the poster-graphic inheritance of the Ukrainian art of 1920-30th. Methods of research. The research is based on art criticism, historical analysis and the comparative method, using the comparison of mediated documentary evidence and facts of the biography of the Ukrainian cinema artist Anatoly Volodymyrovych Martynov. Scientific novelty. For the first time on the basis of scientific analysis an attempt was made to establish the author of an unidentified Ukrainian movie poster «Ukraziya. 7+2» in 1924. Conclusions. The analysis of the compositional techniques, the graphic stylization of realistic content, the specific modeling of the light waves on the faces and clothes of the characters, and the plane interpretation of the forms in the image of industrial motifs, as well as the comparative study of the characteristics of the applied handwritten fonts and the similarity of letters and numbers proved the high probability of belonging the poster to the creative heritage of the Ukrainian artist of the XX century Anatoly Volodymyrovych Martynov. The assumption is confirmed by the results of historical analysis of the source data of the print sheet, the comparison of the mediated facts of the functioning of the artistic industry in Ukraine at that time, documentary tracking of the biographical data of a possible candidate for authorship of a cinematic work, such as professional artistic education, employment, relations with typography of other republics of the USSR, related to the poster graphic arts activities in the field of «lubok» publishing and series of postcards.
4. Onufrіy Bizyukov. Amazon by the boat, 1960-s. Canvas, oil.
5. Onufrіy Bizyukov. Nude on the beach, 1960-s. Canvas, oil.
The aim of the research is to highlight the tendency of the artist-boychukist Onufriy Bizyukov’s work of the 1960s. To analyze the artistic and stylistic works of the artist of this period, to reveal aspects of the revival of the ideas of Boychukism at this time. Research methodology. Methods of historical and art-study analysis are used. Scientific novelty. For the first time, the facts about the life and work of the boychukist Onufriya Bizyukova were introduced into scientific circulation, the analysis of the paintings of the artist of the 1960s, the tendency to experiment in the perspective of the ideas of Boychukizm was revealed. Conclusions. As a result of the research, it was found out that O. Byzyukov used postcurrency techniques, experimented with the plane and color in the 1960s. In the works the artist focuses on the composition, structure, rhythm, form and their correspondence to the content. The most important is that the artist managed to preserve, develop and transfer the traditions of the school of Michael Boychuk for future generations in the second half of the twentieth century.
The aim of this research is to chronologically determine the stages of transformation of the Ukrainian book design of the transitional period of the 1980s and 1990s and formulate their characteristics. Research methods. In this work comparative and historical, chronological, iconographic, classificational, comparative and typological methods, as well as the method of art-study analysis were used. Scientific novelty. During the research of the topic, it was established that the Ukrainian book design of the two adjacent decades (1980s and 1990s) was qualitatively different. The book of the 1980’s is generally marked by deep artistry, figurative symbolism, a tendency toward creative freedom, man-madeness, and the tradition of graphic techniques and means of expressiveness. Instead, domestic book editions of the 1990’s, influenced by various factors, lost their former guidelines for the art of the book, were marked by excellent updated artistic-figurative characteristics. In particular, analyzed artifacts testify to compositional-architectural simplicity, creative «permissiveness», artistic «imporevishment». In addition, it is worthwhile separating the development period of Ukrainian book design in the second half of the 1990’s, as it was at this time that its active renewal and revival began through the mastering of computer tools. Conclusions. In Ukraine, during the last two decades of the twentieth century, a dynamic transformative of imagery system of the book took place, confirmed by the flexibility of creative concepts of publishing houses and creative principles of masters of the book, according to the time conditions. It is explained that the transformational process in the Ukrainian book design of this period is expediently divided into three main stages: the preparatory stage, limited by the 1980s, includes complex adjustment of the imaginative system of Ukrainian book to future changes being a result of the artist’s suffering from the ideological pressure of power and the attraction to national self-affirmation; the adaptive stage, which lasted conventionally from 1990 to 1995, was mainly formed as a result of the complex gradual mastering of progressive design tools on the background of a new self-awareness of artists; the stabilizing stage, which has been implemented since 1996, finally marking and consolidating numerous modifications in the artistic imagery of book editions (positive, negative and neutral).
1. Monument to shot professors. Lviv. 2011.
3. S. Radkevich «Holy husband of Volyn». Lutsk. 2014.
4. Monument to the Heroes of the Heavenly Hundred. Ivano-Frankivsk. 2016.
5. Project «Space of the Synagogue» (installation «Immortality»). Lviv. 2016.
The aim of the research is to reveal the problems of alternative artistic and memorial objects, which are represented in the open urban spaces of Western Ukraine in the period of 2010–2016. These objects are distinguished by non-typical forms in comparison with traditional monuments and memorials. The scientific and methodological approaches to studying the mentioned problem are generalized; a considerable volume of literature and visual sources has been processed. In particular, it has been founded that this subject is entirely new and little studied in the Ukrainian art discourse. Almost there are no professional materials that would disclose the specifics of alternative artistic and memorial projects implemented in recent years in the cities of the Western Ukrainian region. This in turn causes the relevance, scientific novelty and practical significance of the proposed research. Conclusions. As a result of the research, the peculiarities of realization of modern art objects and projects aimed to actualization of collective cultural memory in the cities of Western Ukraine were found out. The international experience was comprehended. The most representative projects implemented in the region were analyzed. To large extent it give grounds to talk about positive changes in the development of new artistic and memorial forms in urban spaces and striving for Western European trends. The visual aesthetic and socio-cultural aspects of alternative memorial objects were analyzed.
The aim is to identify the key porcelain works painted by the Honored Artist of Ukraine Angelina Zhdanova during the second half of the 20th century, to reveal the artistic features of her decoration of sculptures, utensils and vases. Research methods – ontological, axiological, hermeneutic, historical-chronological, historical-comparative, cultural, typological, art analysis. Their combination allows us to reveal the specifics of the creative method of Anhelina Zhdanova concerning the design of sculptures of small forms and design development of decors for fine ceramic ware and vases. Novelty comprises the analysis of the artist’s appeals to the Ukrainian in the decoration of the best examples of domestic porcelain sculpture of the third quarter of the 20th century. (first of all, according to the designs of V. and M. Trehubov’s forms) and the use of exquisite Petrykivka painting in the design of vases, dishes, tableware of the second half of the twentieth century, created at Korosten and Svitlovodsk porcelain factories. Conclusions. The milestones of the work of the outstanding Ukrainian artist-designer in the field of porcelain Anhelina Leonidivna Zhdanova are traced. The list of main works in sculpture, vases and utensils, decor projects which she created at Korosten and Svitlovodsk porcelain factories in the 1950s – 1990s is outlined. It is determined that A. Zhdanova is the author of the original painting of the famous sculptures ‘Ukrainian Dance’ and ‘Shoes’, the forms for which were developed by V. Trehubova in the mid – second half of the 1950s. Portraits of Soviet figures on plates and vases, such as party executives, astronauts, foreign ambassadors or the UN Secretary General, are important in the artist’s work. A separate segment of Korosten products by A. Zhdanova consists of paintings with skillfully executed floral ornaments for framing portraits. The paintings are made in a delicate brush technique ‘cat’, the type of Petrykivka paintings.
The purpose of the article is to highlight fashion trends in clothing using traditional Ukrainian embroidery in the 50s of the twentieth century. The methodological foundations of the study are based on historical, art and cultural observations and analysis. Scientific novelty. The article examines historical sources, artifact finds, indicating the presence of embroidered ornamental elements in the decoration of the clothes of the Ukrainians of the indicated period. The manufacture of clothing, including embroidery, on the territory of Ukraine is associated with artisanal and industrial production. The article analyzes the state of embroidery using modern fashion trends in clothing of the 50s of the twentieth century. Conclusions. As a result of the analysis of the art of making clothes of Ukrainian fashion of the 50s. XX century, we can state that the creation of compositionally complete collections of clothes, including those developed using national traditions, was possible due to the unification of the creative efforts of various industries of light industry. Mainly, in the fashion of the 50s, there were cardinal changes in silhouettes and shapes, in accordance with the change in the ideal of beauty. Skirts, straight and flared, came into fashion, pleated skirts, dress-coats, coats, suits made of shaped, overcoat fabrics, which were decorated with metal, leather, wooden buttons, were introduced, taking into account folk ornamental traditions. New styles of dresses were created on a fitted basis with the use of a variety of embroidered ornaments: «roosters», «flowers», embroidered with «nets», «satin stitch», with elements of sewing fabrics along the entire product, etc. The implementation of thematic, original artful designs directed and coordinated the activities of the textile, clothing, knitwear industries. Elements of national clothing with common motives of traditional Ukrainian embroidery attracted special attention in the fashion of that time.
The aim of the article is to consider the most efficient way to organize the learning process of the academic subject "Drawing" during the first year of study in the system of training designers. This process should fully meet the requirements of educational reform, where an academic drawing would be directly connected with creative activity and would contribute to the formation of knowledge and skills necessary for a designer. The methodology of the research is to find the most efficient way of organization of the learning process where classroom work, self-studying work and homework could be effectively combined with scientifically grounded educational-methodological system of professional art training. The scientific novelty lies in the balanced structuring of the tasks in the curriculum of the subject "Drawing" for both classroom work with an academic focus, and self-studying work with a creative focus which will enhance the effectiveness of teaching the subject in the face of limiting the number of academic hours. Conclusions. The subject "Drawing" still remains the basis of artistic education in the system of training of designers, but it requires some changes in the ways teaching and methodical process are organized, which are caused by the specific character of the subject closely related to the designer’s work.
1. Conceptual scheme for the article «Ways to study nature». Рис. 7.1. Концептуальна схема до статті «Шляхи вивчення натури».
2. Earth, water, air: in search of equilibrium. Рис. 7.2. Пауль Клеє. Земля, вода повітря: у пошуку встановлення рівноваги.
The purpose of the research is to reveal the specifics of the visual language of the artist and designer Vasyl Yermylov, in particular, through the study of his diptych «On the Beach» in interconnection with the artistic and theoretical achievements of Bauhaus artists-innovators. Research methodology. The method of deconstruction, structural, formal-stylistic and comparative analysis is applied in the article. Scientific novelty of the research. The results of the study revealed tendencies for Yermylov to create avant-garde compositions based on a subtle creative dialogue with the theoretical approaches of the Bauhaus representatives, which testifies not only to programmatic and ideological unity, but also to the identity of visual thinking. The method of deconstruction and structural analysis allowed to identify the elements of form as certain structures, deliberately introduced into the work by the master in order to rethink it, create another combination and, thus, the assertion of new content. This is the first time such analysis of Yermylov’s works has been conducted. Conclusions. The results of the analysis of Yermylov’s diptych «On the Beach» testify to the universality of the new visual language, Kwhich has developed in Ukraine despite the attempts to adapt it to the service of the totalitarian regime. Today it is important to testify that Ukrainian artists developed in harmony with their Western counterparts. Ermylov’s work, built on rethinking of different, sometimes opposite approaches to the development of form, which existed at different stages in the Bauhaus, is an example of exceptional design skill of the Kharkiv artist in composing virtuoso compositions from elements of art form. At the same time, the diptych with its laconic expression of the theoretical avant-garde heritage under the «mask» of Dadaism is a tribute to the New Art in the conditions of its prohibition and destruction.
The aim of the research is to analyze the formation of the artist’s image through the design of musical posters and records in the period of late socialism by borrowing the semantic component and formal techniques in foreign pop culture, including graphic design, which served as an important component. The research methodology is based on a logical-analytical tool of scientific knowledge. Scientific novelty. Previous research has been supplemented by the analysis of new empirical data, including the design of record covers, visual coincidences of primary sources and borrowings. The revealed facts will be useful for the further development of both modern Ukrainian design and the formation of the artist’s image in show business. Conclusions. As a result of the study we conclude that in the period 1970-1990 in the process of formation of pop culture in the USSR the problem of its visual representation was formed, as evidenced by numerous pieces borrowed from foreign pop design solutions for advertising products: posters, placards, album covers, accompanying products. At an early stage, this trend was manifested despite the existence of the “Iron Curtain”, ideological isolation and was episodic. In the period chronologically close to the collapse of the USSR, such processes of stylistic citation in design became more frequent in line with the growth of information coming from the developed West. Copying Western techniques and visual language can be seen as a desire to break away from the dogmatic patterns of culture instilled by socialist realism, regardless of the conscious or unconscious nature of imitation. Blind imitation was later replaced by a reasonable rethinking, so in the best examples of domestic design of the period under study there were attempts to give formal Western methods the character of the local national color, which requires further exploration.
The aim of the research is to investigate the connection of advertising image development with the socio-cultural situation in the Euro-American society, to reveal the features of its design as a visual communication. The methodology of the research consists in applying the empirical method, the analysis, the comparison and the generalization of European advertising products from the 1870's until the 2010's. This methodological approach allows us to comprehensively explore the advertising image on basis of which the advertising communications were modeled. Scientific novelty. On the basis of the analysis of the visual component of advertising products in relation with the socio-cultural state of the Euro-American society of the corresponding periods, it was found that in the modern information society and in the design of the advertising image there was a transition from the provocation of the typical initial emotional reactions of the addressee to the stimulation of a complex «game of signs» and personalization. Conclusions. Advertising images are considered to be one of the a components of visual communication, which today is interpreted as the basic means of information interaction in society. The designer involved in the development of these images must comprehend the factors that form it and realize the importance of their work for the socio-cultural state of society.
Мета статті – проаналізувати візуальні стереотипи в рекламі, перевагу до примітивності і знеособлення національного іміджу, окреслюючи можливі шляхи подолання псевдостилістики. Методи дослідження використано відповідно до обраних транссистемного і мультимодального підходів: системно-структурний, соціокультурний, історико-мистецтвознавчий, синергетичний та семіотичний. Наукова новизна. Теоретично узагальнено стилістичні аспекти та тенденції розвитку сучасної рекламної графіки. Увага акцентується на прийомах візуалізації, атрибутах етностилю та національній специфіці. Доводиться, що образотворення в рекламі є складним завданням щодо спрямованого психоемоційного та асоціативного впливу на споживачів різних регіонів з урахуванням етномистецьких традицій. Висновки. Дослідження культурно-естетичних складових реклами дозволило систематизувати рекламні зображення та визначити їхню функціональну специфіку в комунікативному просторі. Зокрема, про ведений компаративний аналіз етнокультурних та міжкультурних тенденцій у рекламі виявив суперечності між комерційними завданнями та гармонізацією життєдіяльності соціуму, що мають переважно псевдонаціональні риси. Лише нечисленні торгові марки, відтворюючи національний колорит, відповідають вимогам як певного замовника, так і глядача. В результаті дослідження доходимо висновку, що використання етномотивів у засобах рекламного інформування можливе й необхідне для ідентифікації Української держави у світовому соціокультурному просторі, для підвищення національної самосвідомості та самоідентифікації.
1. Oksana Zabuzhko's. «Field Studies on Ukrainian Sex». Рис. 4. 1. Оксана Забужко. «Польові дослідження українського сексу».
2. Iv Vensler. «Vagina Monologists». Рис. 4. 2. Ів Енслер. «Монологи вагіни».
3. Sergei Zapadnya «Limonchello and Red Label». (2011). Рис. 4. 3. Сергій Западня. «Лимончелло і Ред Лейбл». (2011).
4. Alexander Roitburd. The Great Odalisque. 2013. Рис. 4. 4. Олександр Ройтбурд. Велика Одаліска. 2013.
5. Vlada Ralko. Kiev Diary. 2013. Рис. 4. 5. Влада Ралко. Київський щоденник. 2013.
The aim of the research is to show that after Independence that Ukrainian artist were rewarded for supporting Western values, not Ukrainian values. Ukrainian artists were left with three different paths, to either commit to the West, with the promise of attention and financial reward, or to support the Soviet idea of Moscow as a cultural capital or the difficult path of building a contemporary Ukrainian identity. The last option is the difficult path that not only has no rewards for the artist themselves but also acts in opposition to both the West and the East. Research methodology. Methods of historical and art-study analysis are used. Scientific novelty. For the first time facts were introduced into scientific circulation about Eros in Ukrainian art in the period of Ukrainian Independence. Conclusions. The Contemporary Ukrainian Identity in the visual arts will be a merging of Western and Eastern concerns transformed through a Ukrainian point of view. Artists will seek both their own validation and self-worth through expressing themselves freely but also search for a community that appreciates their work. The Ukrainian beliefs in Eros, happiness, fun and mutual benefit is in contrast to the imperialistic beliefs of European countries and Russia. For a Ukrainian identity to be truly and honestly formed, it will have to forgo both financial and emotional rewards from foreign countries in order to support its own voice.
The aim of the article is to study such a design phenomenon as «zine» in terms of etymology of the name and its synonymous variability in English and Ukrainian. The main attention is paid to the ordering and systematization of the chronology of the formation of zine culture in Ukraine and America from the first carriers of the idea of distribution of limited editions to the present day. The development of zine culture in these regions took place in parallel with the acquisition of originality, depending on the socio-cultural situation and technological progress. Adherence to the set goal involves the study of the possibilities of using zines in society, in particular in modern Ukraine. Currently, samizdat has integrated into a new culture and is becoming part of contemporary art and literature. Research methodology. To carry out this study, the method of analysis, comparison and generalization of the documentation of the development of zine culture and its scientific analysis was used. Scientific novelty. The article reviews the parallel formation of zine culture in Ukraine and America. Based on the analysis of different points of view on the stages of development of zines and significant events that influenced it, the author’s chronology is proposed, structured according to three criteria – purpose and content, technical progress, institutionalization of zine culture. Conclusions. The article provides an overview of the historical background of the origin of the terms «zine» and «samizdat», which revealed the semantic similarity of the terms «zine» and «magazine». At the same time, the unique properties of zine as an object with permission for authentic (uncensored) expression, free from commerce, independent of common aesthetic, linguistic and spelling standards, full of unique ability to broadcast creativity and innovation, become apparent. Zine has been found to be a recognized category of publications that a number of scholars and practitioners have sought to single out as an independent form of design. The Zines draw on a long history of independent, alternative, and sometimes radical publications that began long before the first Zines appeared in the 1930s. Over the past century, they have evolved with the communities that produced them and the new technologies that have become available.
The aim of the research.The article deals with the problem of identity in the works of Ukrainian-Canadian artist William Kurelek. It outlines the necessary pre-conditions of the research in the context of his artistic searches. Based on in-depth analysis of a numerous series created by the artist, the research distinguishes four separate types of identity, which the artist presented, in the following contexts: national, social, personal, and group. Each type of identity is analyzed according to type, and supporting examples of Kurelek’s works are provided. Research methodology. General scientific and interdisciplinary methods of research – analysis, synthesis, generalization and a comparative method – were used to carry out the aim. The scientific novelty of the research is the artistic analysis of some of the art-works by Kurelek, as well as to compose a typology of identities in his art. Conclusions. The concept of identity is presented throughout his work according to a constant, underlying formula, which Kurelek understood to be a synergy of ethnic, gender, and religious characteristics applied to various individuals who demonstrate belonging to a particular group.
1. Assyrian throne from Nineveh.
The aim of the study is to determine the development process of the ancient furniture shaping of the first mankind civilizations (3000 BC – XI century BC). Research methods. The research methodological platform is formed on the basis of a comprehensive systematic functional-structural analysis and is based on identifying trends in the furniture shaping development that can affect the modern furniture design. Therefore, to identify trends in the ancient furniture shaping, methods of systematization by features, localization, and comparative approach were used. The last of the three research methods, the comparative method, provided a comparison of the evolution process features of the furniture shaping phenomena of the ancient period. Scientific novelty consists of identifying development trends in the ancient furniture shaping by its features and in fact confirming its dependence on the influence of both the characteristics of the natural and climatic environment, the anthropometric dimensions of a person, and the worldview and value ideas of that time society. Conclusions. Thanks to the research methodological platform, which is formed on the basis of a complex system of functional and structural analysis, a consistent influence on the ancient furniture shaping is recorded besides the environmental, ergonomic, sacral, and also social factors. Identified trends in the formation of ancient furniture models – socio-economic, environmental, ergonomic, functional-typological, technical, historical and cultural, aesthetic.
Purpose of research. The need for a thorough scientific and theoretical consideration and generalization of the formation of systematic knowledge about the national forms of our art at the leading stages of historical development, is gaining relevance in modern domestic science of art. Among other things, it requires the study of the achievements of scientists in the study of national creative heritage in the field of sculpture of Kievan Rus and the Cossack times during the formation of scientific art history. The article is devoted to the process of formation of the concept of evolution of forms of sculpture of the old princely years and the Cossack era in the works of specialists of the early twentieth century. The research methodology is based on a comprehensive historical and cultural approach, a systematic method, synchronous analysis of publications of one time period, structural analysis. This methodology allows us to consider the gradual formation of scientific views on the characteristic national differences and the direction of evolution of Ukrainian art of this period in the broader international context of artistic development. The scientific novelty of the results is to determine the process of formation of objective ideas about the formal and semantic features, distinctive features and high artistic level of monuments of Ukrainian sculpture from ancient times to the end of the Cossack era based on analysis of publications of various trends of leading experts of the late XIX – XX centuries .: D. Ainalova, E. Redina, E. Kuzmina, F. Ernst, M. Makarenko, K. Shirotsky, S. Yaremich, V. Modzalevsky, F. Schmidt, devoted to the study of this branch of ancient Ukrainian art and in the context of the characteristics of the general development of fine arts, and as an independent subject of research. Conclusions. Ukrainian science of art of the early twentieth century. has achieved undeniable success in the study of national forms of domestic sculpture of ancient Slavic times, Kievan Rus and the seventeenth – eighteenth centuries. as the period of the highest prosperity. The considered material testifies to the high professional level of formation of the substantiated scientific concept of national self-sufficiency of ancient Ukrainian sculpture as an important component of the general art process at various stages of its development.
The aim of the research is to distinguish the relations between animated titles and the content of feature films. The research methods. Creating animated titles is an applied process, but project preparation requires theoretical analysis of the sources closely connected with the subject of the research, namely: the study of approaches used in the work, and the tools used in design development. The scientific novelty of the research is to find out the main trends in creating animated titles on the basis of isolated samples of feature films of the digital era. Having analyzed the examples, several approaches that successfully combine the tasks set by authors/film scriptwriters have been singled out, such as: font-based solutions based on standard fonts; font accidence that should cause certain associations; combination of fonts and camera work (rotation, panorama, remoteness or approximation of objects, etc.); “gluing” titles into objects; a background where the titles are displayed – a static background or a background “against the background of action”; and titles-cartoons as a special genre Conclusions. The use of fonts in animated titles and a separate trend in the animation of titles. from the point of view of their plastic characteristics and compositional possibilities expands the horizons for the further development of each of the trends identified and provides an opportunity for further variation and experimentation. Project activity cannot be limited by rules and set schemes only. The development of technological processes used in practical work leads to a “collision” of fonts with different types of images, which, in its turn, should cause certain programmed emotions from a viewer and adjust the viewer to further watching of a film.
The purpose of the article consists in clarifying the features of the archetypal structures functioning (in this case – archetypes of Greek myths) in modern fashion design and also in the analysis of the fashion design methodology peculiarities in the condi­tions of metamodernism. The realization of this purpose is planned by developing the meth­od of designing modern clothing, taking into account the principles and characteristics of metamodernism. Research methodology. The complex problem of analyzing the features of fashion design development in the environ­ment of metamodernism is solved based on interdisciplinary system analysis with a combi­nation of subject, historiographic and morpho­logical analyzes.Scientific novelty. For the first time, it was shown that modern design trends, such as in-personal empathy and situational expressiveness, more careful consideration of aesthetic guidelines, psychological attitudes, and user expectations, are most harmoniously reflected in the principles of metamodernism. It was demonstrated that in the conceptual space of the metamodern, the principle of os­cillation corresponds to a choice between two competing primary sources of an image gen­eration in fashion design. The images of Greek mythology gods were chosen as traditional ele­ments of the design project, and prototypes of modern clothing models were chosen as com­petitive elements. Conclusions. As a result of the research, we conclude that in the practice of fashion design, it is expedient to solve the project approach in a balanced way between the factors of the creative source, the personal qualities of the individual, and the archetypes manifested in it. The methods for elements of Greek myths heroes’ images synthesizing with elements-carriers of fashion trends was pro­posed, taking into account the tendencies of metamodernism. Experimental approbation of the research results was carried out by assess­ing the artistic and aesthetic qualities of mod­ern women’s clothing models collection based on Greek myths motives. Thus, the results of the collection design confirmed the feasibility of turning to archetypal forms to find innovative design solutions.
Мета. Стаття присвячена вивченню творчого спадку Миколи Ейсмонта – українського архітектора, урбаніста, сценографа та дизайнера середини ХХ ст. Методологія дослідження. За допомогою мистецтвознавчого аналізу здійснюється спроба з’ясувати особливості творчої спадщини митця. Дослідження базується на аналізі матеріалів музейних та архівних фондів, що містяться в Україні та Росії, а також – його проєктних розробок та наукових праць. Наукова новизна дослідження обумовлена введенням у науковий обіг біографічних даних про життєвий і творчий шлях архітектора, митця і дизайнера Миколи Геліодоровича Ейсмонта. Висновок. Життя і творчість досліджуваного митця і дизайнера засвідчує той феномен, коли у неможливо важких умовах радянської дійсності художнику усе ж вдавалось реалізувати власний творчий потенціал і виявити парадокси історії. У результаті дослідження виявлено універсальний характер його творчості, реалізований у художній, проєктній та сценографічній діяльності. Зокрема, розкриваються особливості дизайнерського підходу Ейсмонта із застосуванням етнічних мотивів у проєктуванні виробів з кераміки.
Мета дослідження – проаналізувати основні тенденції у сучасній архітектурі на прикладі тимчасових літніх павільйонів художньої галереї Серпентайн, розташованої у Кенсінгтонських садах Гайд-парку у Лондоні, до створення яких протягом 2000–2018 років залучались найвідоміші архітектори з усього світу. Методи дослідження. Використано методи синтезу, порівняння, узагальнення, а також історичний підхід із залученням вивчення наукових праць провідних теоретиків історії архітектури й аналізу проектної практики. Наукова новизна полягає у тому, що у статті вперше здійснено спробу проаналізувати сучасні тенденції в архітектурі виставкових павільйонів з виявленням нових підходів у архітектурному проектуванні, формоутворенні, застосуванні нових будівельних матеріалів з урахуванням стилістичних трансформацій і творчого почерку автора. Висновки. Ретроспективний огляд вісімнадцяти павільйонів галереї Серпентайн у Лондоні дозволяє виділити низку тенденцій у сучасній архітектурі. Спочатку до створення павільйонів залучалися видатні архітектори старшого покоління, переважно представники стилю деконструктивізм. Останнім часом запрошуються порівняно молоді авангардні архітектори, які поєднують у своїй творчості як технологічні інновації, так і автентичні етнічні мотиви. Окрім архітекторів у творчому процесі активну участь беруть художники, скульптори, ландшафтні дизайнери й інженери, які на час створення унікального об’єкту об’єднуються в мережеву форму організації архітектурного проектування. У формотворенні спостерігається тенденція перетікання внутрішнього простору у зовнішній, трактування споруди як арт-об’єкта. Поряд із застосуванням традиційних для павільйонного будівництва матеріалів (сталеві, дерев’яні конструкції), використовується скловолокно і полімерна плівка.
The aim of the research is to analyze the space transformation principles peculiarities in nonlinear architecture. Research methods. The analysis and systematization of empirical material were carried out and the methods of induction and idealization of the subject of the research were implemented in the context of these tasks. Scientific novelty. The content and the essence of the space transformation principles in nonlinear architecture are highlighted in this research for the first time. Besides this, the monality principles and the reconstruction of the universe in the MicroWorld in the process of the research and interpretation of new forms in nonlinear architecture are emphasized in details. Conclusions. As a result of the previous scientific research analysis in the field of nonlinear architecture it is necessary to note that the nature of locality and universality is identified by the notion of the field and demonstrates the inherent adequacy of organics and geometry. The following demonstration of the genetic algorithm is combined with the form generation and characteristics of the latter through the concept of intensification. “The space” category is explained via the mathematics modeling which is represented as a concrete reality provided by the possibility to interpret the space architecture based on mathematical, IT and other models. In such a way, the mutual combination of forms, potential stitch and field are followed after the intrinsic logic, which is provided by updated data according to contemporary creative paradigm in architecture sphere. It is proved that the monality principle and the universe reconstruction in MicroWorld embody the multivector interpretations of new shapes in nonlinear architecture.
The aim is to explore the key concepts of stylistics of Ukrainian fine arts, architecture and various types of design of the second half of the XIX – early XXI centuries in the relationship of individual fields of knowledge. Research methods – hermeneutic, axiological, historical-genetic, historical-chronological, comparative, culturological, formal-stylistic, art analysis. The selected tools allow you to compare the stylistic features of different types of design (industrial, graphic, clothing, environment), fine arts and architecture. A novelty is an overview of evolutionary processes in terms of styles in painting, graphics, architecture, various types of design activities (in particular, environmental design, industrial, graphic, clothing). The points of intersection of the conceptual and categorical sphere of the indicated branches of creativity are outlined, both common and different tendencies concerning the identification of stylistic features are observed. Conclusions. The differences of separate branches of knowledge of artistic creativity and common features of some types of design-designing, -construction, -modeling, art technologies bordering on graphic art and painting (graphic design, partly industrial design), architecture (environmental design and partly industrial design) are traced. Since the era of modernism, art deco, avant-garde, constructivism, functionalism, Stalin’s empire, which affected all forms of artistic activity, in the late twentieth – early twenty-first century established the classic, minimalism, high-tech, fusion, low-tech, shabby chic, provence, glamour, some oriental stylizations in the interior associated with architecture. Instead, clothing design, in addition to the classics, over the past few decades has creatively adapted the sports-classic style, manga, country, western, boho, military, glamour and etc. over the past few decades. If the shapes of the silhouettes of the cut look at the general tendencies of industrial design, the drawings of fabrics partially appeal to the visions of graphic design, which are related to the tendencies of fine arts – tendencies of modernism, avant-garde, postmodernism. Namely, they tend to functionalism, constructivism, boychukism, art deco, socialist realism, Stalinist empire, Ukrainian soviet empire, neo-functionalism, neo-primitivism, neo-folk style, polystylism, glamour.
Gropiusshtadt (Berlin). Рис.4. Вальтер Гропіус. Поселення у Дессау-Тортен. 1926 -28 р.
Walter Gropius. Dessau-Törten Housing Estate. 1926-28.
The purpose of the article is to find out the peculiarities of the creative method formed by the founders of the Bauhaus school; identify the specifics of its application in modern architecture and organization of the environment; identify the relationship in the formation of the principles and approaches of the new architecture in the Bauhaus environment and the architects of the organic tradition. The research methodology is determined by general scientific methods of analysis and synthesis, historical, comparative and art analysis. The work is based on tracing the relationship between the basic principles of the founders of Bauhaus and organic architecture, the implementation of their ideas, as well as the analysis of different approaches in the application of architecture and environmental design. Scientific novelty. The research argues that it is appropriate to talk about the relevance of not so much formal Bauhaus principles, how much of the creative method and approach developed by the school; attention is drawn to the organization of Bauhaus art education, which again becomes relevant in the context of globalization and the challenges of the information society. The research also revealed the common origins of the methods of Bauhaus and the architects of the organic tradition, as well as the difference between them, which is embedded in the method itself as a possibility of different interpretations of form. Conclusion. As a result of the research we conclude that the most important achievement of Bauhaus is the creation of a special method of conscious creativity, which today has a much more universal meaning than the adopted stylistics, the appropriate interpretation of lines and colors. Its essence is the organization of the modern environment for a person in accordance with individual decisions obtained in self-reflection, in improving one’s own mastery of proportions and subordinating ideas to the high ideals of the man of the future. The Bauhaus method was formed due to the creation of a new educational system of art education, which allowed artists to develop new landmarks in modern times, to establish the relationship between art and craft, to subordinate different arts in accordance with the problems of organic unity of architectural structure. The same method, ideals and future orientation, the desire for a new organization of space, but a different style, we see in the creators of organic architecture. This is evidenced by the work of architects Rudolf Steiner, Hugo Goering and Hans Sharun.
Мета статті – виявити, систематизувати наявні зразки паперових рушників, а також їхніх зображень у музейних та архівних збірках України, проаналізувати регіональні художні особливості, найпоширеніші композиції, мотиви, стилістичні інтерпретації. Методи дослідження поєднують джерелознавчий, що полягає у вивченні оригінальних творів, аксіологічний – для розкриття ціннісних особливостей цих зразків та мистецтвознавчий аналіз – для характеристики художніх особливостей мальованих рушників. Наукова новизна. У статті систематизовано, розглянуто та введено до наукового обігу оригінальні зразки мальованих рушників, а також їхні зображення з музейних та архівних джерел. Висновки. Мальовані рушники побутували в інтер’єрі сільського житла переважно у 1920–1970 рр. З великої кількості різноманітних видів рушників мальовані вироби здебільшого імітували «кілкові» та «божники», які мали вагоме значення в українській етнічній культурі. Для цих зразків характерні ознаки тканих, вишиваних або вибійчаних прототипів, наслідування регіональних композиційних схем, мотивів, декоративної виразності. Водночас мальовані рушники – це самобутні художні твори, органічно поєднані з цілісним орнаментальним простором селянської оселі.
Етнодизайн як важливий компонент проєктної культури став місцем перетину культурних пластів. Тому дослідження його феномену в системі етнокультурних цінностей як важливого компоненту культури актуальне, адже саме дизайн впливає на формування менталітету як окремої людини, так і народу загалом. Метою дослідження є висвітлення проблеми національної самоідентифікації в умовах глобалізації та визначення етнодизайну як форми впливу на культурно-мистецький розвиток України. Методологія базується на історичному, аналітичному та структурному методах, а також семіотичному принципі. Наукова новизна полягає у поглибленому дослідженні етнодизайну як одного із головних носіїв символічного коду своєрідності національного мистецтва. Важливою складовою культури розглядається етнічна традиція, з якою пов’язана також категорія стилю, а комплексний підхід у дизайні спрямовує розвиток сучасного проєктного процесу в Україні. Висновки. Доведено, що зростання конкуренції у процесі глобалізації висуває нові вимоги до продукції, яка має бути не лише якісною, а й презентувати національну самобутність країни-виробника. А це можливо шляхом звернення до традиційного мистецтва як важливого чинника, що допомагає об’єднати суспільство. Виокремлено сучасні концепції національної особливості дизайн-розробок – регіональний, національний та інтернаціональний компоненти, а також поєднання традиційного і новаторського. Таким чином, сучасні національні особливості складаються із традицій у поєднанні з національним новаторством. Наголошено, що у сучасному світі дизайнер стає посередником між людиною і його інформативним середовищем, він не лише творить предмет, а й синтезує цінності різних часових періодів, стилів життя, індивідуальних і соціальних поглядів, переосмислює значення споживаного людиною об’єкта. Відправною точкою авторського задуму багатьох дизайнерських проєктів стають символічні елементи, художній, особистісно-духовний та етнокультурний зміст українського народного мистецтва.
The aim of the study is the analysis of sacral paintings of М. Vrubel during the "Kyiv period" (1884 – 1889) and understanding of the church canon by the artist. Methodology of the research includes general scientific methods – art study analysis and generalization of the problem under investigation. In order to study the subject the epistolary heritage of the artist was used. The article reveals the genesis of painting style of M. Vrubel as an integral part of the European version of the style Art Nouveau. The article also proves that this process took place during his "Kyiv period", and was closely connected with the impact of Western European religious art on M. Vrubel`s creative work, in particular, when working on the sketches for St. Volodymyr’s cathedral. Conclusions. Evaluating the millage covered by M.Vrubel as a muralist we can conclude that his creative work has developed on the basis of academic easel forms and naturally evolved to Art Nouveau. While working on monumental and easel paintings in St. Cyril Church, monumental paintings in St. Sophia Cathedral and sketches of painting for St.Volodymyr’s Cathedral embodies the highest level of artistic achievements of mature Art Nouveau.
The purpose of the research is to identify the functioning features of Ornek, a traditional Crimean Tatar ornament in modern culture, art and design. The research methodology is based on the application of art history, comparative and semiotic analysis. The novelty of the research is to identify the functioning of the Crimean Tatar ornament in modern times, to determine special symbolic and graphic structures in the visual system Ornek, which allow not only to develop in modern Crimean culture but also show the high communicative ability to establish a cross-cultural dialogue. Conclusions. The study of Crimean Tatar ornament in modern art and design testifies to its high ability to adapt to new conditions, which allows us to talk about the flexibility of its visual system. In modern art and design projects, it appears as a phenomenon that can abstract from archaic forms and organically combine not only with the latest materials and techniques but also to create unity with the phenomena of other national cultures.
The purpose of the article is to identify the features of branding campaigns of Ukrainian art museums and their impact on increasing the popularity of museum institutions; and finding out the effectiveness of design approaches in such campaigns. Research methods are based on the application of comparative, formal-stylistic, iconological analysis and deconstruction method. The novelty of the research is to analyze the branding campaigns of art museums in order to learn from their experience and effective design solutions. The article also reveals the problem of integration of the viewer into the museum environment and the attempt through design to go beyond the imposed stereotypes, to overcome the attitude to art as a field alien to the average viewer. Conclusions. As a result of the analysis of branding campaigns of iconic Ukrainian art museums we come to the conclusion about their efficiency both for separate establishments, and for all culture in general. Comparative analysis of different approaches has shown the importance of identifying the uniqueness of institutions and attempts to reflect it in the design of identity. And although today we can talk about the belated transformation of the museum environment in Ukraine, which has been shedding boring socialist-realist cloaks almost three decades after the restoration of independence, it is important to note that this process coincides with the global trend of renewal of world museums. Design is becoming a cultural strategy that aims more than changing the image: it must turn the museum into a subjective player in the cultural field, able to think not in terms of power but in terms of culture. Therefore, the rebranding of the country’s iconic art museums can be called without exaggeration one of the most important cultural achievements since the restoration of independence. This process also demonstrated the current demand for design as a cultural strategy that can establish visual bridges between art professionals and potential viewers, as well as change cultural codes, set trends and thus influence the change of image of the city and country.
Мета статті полягає у висвітлені сучасних тенденцій в дизайні вишитих виробів одягу, які пов’язані з застосуванням вишивальних комп’ютерних автоматів. Методологічні засади дослідження ґрунтуються на використанні спостережень мистецтвознавчого, історичного, та культурологічного аналізу. Наукова новизна. В статті оглядаються археологічні артефакти та історичні джерела, що демонструють наявність вишитих елементів у декорі одягу стародавніх українців та доводять, що традиція оздоблювати речі вишитими елементами існує в Україні вже понад 2 тис. років. Зазначається, що впродовж ХХ ст. в Україні відбувався розвиток художніх промислів шляхом механізації, тобто застосування технічних приладів для пришвидшення роботи, що мало і позитивні, і негативні наслідки. Стисло викладена інформація про можливості сучасних комп’ютерних технологій у вишивальному процесі. Висновки. Результати дослідження доводять, що у ХХІ ст. цифрові технології розширюють можливості у створенні вишитих творів завдяки комп’ютерним технологіям. Мистецтво вишивки залишається найважливішим покликанням й надалі його природжене призначення – бути окрасою одягу. Інновації і новітні технології надали можливість прогресивним дизайнерам створювати нові моделі одягу і малюнки для вишиваного декору, а також створили платформу для подальшого розвитку вишивального мистецтва.
The aim of the study is to show the unity of processes in the Ukrainian and European art in the end of the XIX – beginning of the XX centuries and to identify the connections between modern ideas and the formation of national identity. The methodology of the research. Methods of historical and art-study analysis have been used. Scientific novelty. The reasons for Ukrainians’ desire for national self-identification are revealed, the process of formation of the Ukrainian artistic elite in the context of the development of cultural autonomy is shown. Conclusions. As a result of the research, it has been discovered that the search for national identity in the realm of art, including the process of creating a national style, became a characteristic feature of the formation of self-identification among the representatives of artistic intellectual class. The formation and development of artistic life in Ukraine, as well as the formation of the national art elite through the creation of an art education system have been shown.
The article is devoted to a review of virtual tours accompanying exhibition art projects in Ukraine. The role of design and software in their creation is analyzed. The aim of the study is to identify effective design approaches in designing virtual tours, to establish the degree of interdependence of the virtual object and the object represented in real time. The research methodology is determined by the methods of general scientific comparative studies and art analysis. The basis of the research is a review of virtual tours of exhibition projects of the Mystetskyi Arsenal (Kyiv, Ukraine). The scientific novelty of the study is stipulated by the identification of design aspects in the creation of virtual reality as well as – the criteria which allow us to assert the existence of stylistic differences that distinguish different virtual tours. Conclusions. As a result of reviewing and comparing virtual tours to exhibition projects in the Ukrainian art space we conclude that they are of high quality, in particular, the degree of reproduction of real time with appropriate detail and information content. In this way, this product allows not only to become familiar with show exhibits, but also to get an idea of its holistic concept. This is achieved, on the one hand, thanks to high-quality and optimal software, and on the other hand, by means of creative design which allows you to identify both the actual slice of the project and its artistic component. In the best examples the latter is filled with the developed means of combining virtual reality and video installations. However, it should be noted that the virtual tour still plays a role of accompaniment and does not replace the event itself which should take place in real time and real space, because, as in any way of transmitting artistic content via electronic media a significant part of the energy potential of the art object is lost. However, the advantages of virtual tours are their informational and suggestive component and the possibility of widespread dissemination of projects. The particular relevance of virtual projects can be predicted in the near future as there is a need to visualize and update the reflections of artists associated with the unprecedented for the XXI century. phenomenon in Europe – Russia’s war against Ukraine with large-scale war crimes, acts of genocide and the deliberate destruction of the cultural heritage of an independent state. The formation and development of such initiatives in Ukraine are considered in several examples in the article.
3. Classification of the stage costume for the visual characteristics
The aim of the research is to systematize and define the scenic costume in the context of contemporary artistic practices. The methodology of the research. In order to accomplish the following tasks the methods of systematization, classification and the complex art analyses were implemented. The scientific novelty. It is mentioned the position of the contemporary scenic costume at contemporary art practice: the theater, cinema, ballet, circurse art, sport sphere and advertising companies and other modern performances, happening and carnavals.The classification of the scenic costume variety is performed. It is fulfilled the classification of the scenic costume taking into consideration the artistic characteristics. Conclusions. As a result of the modern scenic arts analysis, it is defined the versatility and complexity of the scenic costume as a different type of design activity. It is determined that the scenic costume enters into different types of artistic practices and requires detailed artistic analysis in the context of design.
The aim of the research is to analyze the genesis of the main factors of evolutionary;transformations in the jewelry of Ukraine at the end of the XX – the beginning of the XXI ct.;Research methodology. A number of scientific methods have been applied: comparativehistorical,;analytical-descriptive, figurativestylistic, as well as methods of analogies and;assumptions. Scientific novelty. In this study an attempt to show a generalized picture of;the progress of Ukrainian jewelry on the turn of the XX–XXI ct. has been made. Conclusions. It;has been proved that consolidation of domestic;experimental aspects in the technological; field, active introduction of progressive design;ideas and work experience accumulated over;many years by the previous generation of; masters specializing in jewelry art into the;creative process has led Ukrainian jewelers to a qualitatively new stage of development. The optimal balance of traditional methods and innovative experimental factors of the technological and creative process in general has formed the general concept of the development of the recent Ukrainian jewelery, and promotes the birth of new creative forms of the realization of the potential of Ukrainian jewelery artists at the end of the XX – the beginning of the XXI ct. All these aspects help modern Ukrainian jewelery artists to adjust effectively to new principles of work and transformation on the European jewelry art market,where the philosophy of the concept of design, methods of synthesis of artistic and figurative forming as well as structural and technological forming are the main factors of the progress of the recent jewelry art in Ukraine in general.
The aim of the research is to show the interconnection and unity of processes in the Ukrainian and Jewish art of the first third of the twentieth century, their organic coexistence within the framework of a common cultural field. Research methods. Methods of historical and art-study analysis are used. The scientific novelty. The complex processes of interaction between Ukrainian and Jewish avant-garde art, the formation of the conceptual foundations of modern Jewish art, the structure and the activity of the art section of the Cultural League, and the creative contributions of the leading artists of the Cultural League are analyzed. Conclusions. As a result of the research, it was found that the characteristic of the signs of the Ukrainian modern art development belonged to active searches in the domain of national stylistics. At the same time, the activities of the Jewish Cultural League became one of the phenomena of ethnic and artistic pluralism characteristic in Ukraine from the 1910s-1930s. It is clarified by literature analysis on the research topic, the ontological connection of the art studio of the Cultural League with the Kyiv artistic school, the specific tasks of the Jewish art and common features with the Ukrainian context of modernism are formulated. The stylistic features are set out on scientific research examples of the best masters of Jewish art, the range of art studio and its representatives is shown.
The aim of the research is to study available information about life and creative work of an artist (painter, graphic artist) Mikolay Davidovych, determining the place of his works in the collection of Counts Branicki of the Korczak Coat of Arms, determining possible ways of further search for materials for studying his creative work. Research methodology. Methods of art and historical analysis were used. Scientific novelty. In the paper the creative work of Polish artist Mikolay Davidovych coming from Ukraine (was born in Ustymivka village located in Kyiv region) is studied for the first time based on the materials found in the course of studies of the collection of Counts Branicki. Conclusions. Mikolay Davidovych, a painter and graphic artist, studied at Kraków Academy of Fine Arts (1884–1888), actively participated in exhibitions of the Society for the Encouragement of Artists of Kraków and Warsaw. The main genre in which the artist worked was portrait. He worked for prosperous aristocratic families (painting portraits of Counts Branicki of the Korczak Coat of Arms, princes Sanguszko). He worked in Kraków, Warsaw, Tarnów (Poland). Mikolay Davidovych spent a considerable part of his life and creative work in BilaTserkva (Ukraine). Currently works of Mikolay Davidovych are kept in the Museum of King Jan III’s Palace at Wilanów (Warsaw, Poland), Museum of Tarnów (Lesser Poland Voivodeship, Poland) and Bila Tserkva Country Studies Museum.
The aim of the research is to highlight the figure of the artist, teacher and citizen V. I. Zabashta in the second half of 1950–2016. Methodology of the research includes general scientific methods – art study analysis and generalization of the problem under investigation. Scientific novelty. The article analyzes complex processes of formation of the personality of the artist during the period 1950–2016. The research reveals the basic moral, ethical and artistic principles on the basis of articles and unique interviews with the artist. Conclusions. The results of the study claim that V. I. Zabashta was a follower of classical traditions in pedagogical activity as the head of the landscape art studio NAOMA and progressive artist of the totalitarian period. It must be noted that the formally-shaped concept of Zabashta in the Ukrainian fine art of the period of independence and in the subsequent years of its formation deserves special consideration. The formation of his civil position during the postwar and recent years of life, his philosophical attitude and views on the present are highlighted.
The aim of the article is to find out the peculiarities of the embodiment of actual conceptual motives in the design of artistic ceramics. Concepts aimed at identifying the impact of scientific and technological progress and information technology on culture and art are studied on the example of the work of Ukrainian modern ceramist Yurii Musatov. Research methods. The following methods were used in the study: analysis, synthesis, comparison; systematic approach to the interpretation of artistic ideas, practical analysis of the design of modern art ceramics. The scientific novelty of the study is the interpretation of the design of Yurii Musatov’s products through the prism of new realities of the information society, its anthropological challenges, the problems of the existence of art in the system of world communication. Conclusions. The results of the study testify to the innovative nature of the work of ceramist Yurii Musatov. Among the creative works of Ukrainian ceramists he is distinguished by noble, intellectual and modern presentation of works, perfect mastery of technological and artistic means, complex constructive forms and conceptual content.
The purpose of the article. To analyze the Olympics ceremonial suit of the XXXII Olympic Games «Tokyo 2020» and to form promising defining features of its artistic and informational identification. The research methodology provides art analysis of the formation, artistic motives, national appeals, general aesthetics and modern trends that are accumulated in the design of the Olympic ceremonial suit of foreign sports teams. The scientific novelty is to study the Olympics ceremonial suit of Tokyo 2020 Olympics and identify promising strategic advertising features of its artistic and informational identification. Conclusions. As a result of the research for further application in the design of the Olympic ceremonial suit promising strategic advertising features of artistic and informational identification are identified, including: 1) Convergence of appeals to the colors of the national flag in the design of the analyzed ceremonial Olympics suits of sports teams; 2) Correspondence of artistic and informational identification of ceremonial suits to the basic principles of the Olympic Games; 3) Eco-friendliness in an Olympics formal suit, which involves not only the use of environmental materials in the design of clothing, but is also aimed to draw attention to the global problem of mankind. Excess raw materials with a long service life and proper technological utilization of light industry waste has become a trigger for increased attention to environmental awareness at all levels of human activity. High fashion dictates the trends for -middle and mass market and is gradually moving to safe textile materials that are biodegradable without contaminating the water with micro-plastic; 4) Vestimentary traditions in the artistic and informational identification of the Olympics ceremonial suit, which allow to see the designer (design studio, company, etc.) as a referent of the sign system of artistic and informational identification of the Olympics ceremonial suit together with athletes and representatives of the delegation, which is also the brand of the country for which the suit is created.
Мета дослідження. В українському мистецтвознавстві дотепер про багатьох талановитих художників у наявності є тільки енциклопедичні статті у довідковій літературі та короткі згадування у загальних працях з історії вітчизняного мистецтва. Такий стан вивченості творчості стосується і самобутнього живописця Соломона Ароновича Розенбаума (1885–1941). Безумовно, стаття, яка присвячена публікації архівного матеріалу з творчого життєпису мистця зі вступною статтею і коментарем, на часі та має наукову цінність. Методи дослідження. Використано методи історичного і мистецтвознавчого аналізу, метод емпіричного пізнання. Наукова новизна. Вперше до наукового обігу вводиться цінний і вагомий архівний матеріал з творчої біографії С. Розенбаума. Висновки. Опублікований архівний матеріал – спогади художників І. Орлова і С. Бесєдіна про С. Розенбаума, розділи енциклопедичної статті З. Лашкул, передмова і коментар до них буде гарним підґрунтям для подальшого дослідження творчості майстра та написання монографічної статті й складання каталогу його творів.
The aim of the research. The problem of the systematic knowledge formation of the national forms of art is vividly investigated in the modern national art science including the sacred painting as a leading direction in the development of Ukrainian art at the various stages of its history. The important component of scientific art formation requires a thorough scientific and theoretical coverage and generalization. The following article is devoted to the process of the concept formation of Ukrainian icon painting national forms evolution of the Cossack era in the scientific research of the early XX century. The methodology of the research is based on a complex historical-cultural approach, a systematic method, a synchronic analysis of one time interval publications and the structural analysis. The described methodology allows to consider the question of the scientific views gradual formation on the national peculiarities and the direction of Ukrainian icon painting evolution of the Cossack era in the context of the European Baroque style development as a holistic concept. The scientific novelty of the results consists in the objective process formation, identification and representation of the formal-content characteristics, features and high artistic level of monuments of Ukrainian icon painting of the mentioned period based on the research analysis of the early XX century leading specialist. Conclusions. The Ukrainian art science of the beginning of the XX century gained unquestionable success in the study of domestic icon painting national forms of the ХVІ–ХVІІІ century as a period of its highest prosperity. The analyzed materials testify the high professional level of the substantiated scientific concept of Ukrainian icon painting and national uniqueness formation as an independent component of the European artistic process of the considered period.
The purpose of the study is try to outline the variability of understanding the “geometric ornament” concept; determine what are the main differences among this concept interpretations; after conducting an analysis, determine which meaning of the concept is the most logical and scientifically sound. The research methodology involves the use of analysis, comparison, and theoretical generalization methods. Scientific novelty. Emphasis is placed on the differences in researchers’ opinions in the interpretation of the “geometric ornament” concept. The features of geometric ornament are determined, and the difference between different types of ornament is distinguished. An attempt is being made to clarify which ornaments should be attributed to the geometric. Conclusions. The problem of defining the “geometric ornament” concept can be traced in many works of Ukrainian decorative and applied arts, such as carving, carpet weaving, embroidery, and Easter egg decorating. Due to the variability of the means of expression of objects and plots of the surrounding world, there are often differences in the affiliation of the ornament to a particular species. Analyzing the existing classifications of ornaments by different authors, it was found that there is no single classification that would include all existing ornaments. Moreover, the “geometric ornament” has mutually exclusive interpretations. Depending on the position of the form or content, the geometric ornament may include certain combinations of elements or neglect them. As a result, we conclude that the geometric ornament should be considered from the standpoint of the method of transforming figurative forms into correct geometric elements. Therefore, the geometric ornament may include geometrized elements of both visual and non-visual dimensions. In turn, the concept of “geometric ornament” is appropriate to use in the formal analysis of forms, where it is one of the species next to the plastic ornament and a solid spot.
The purpose of the article is to identify current trends in the use of works of fine art in the interior of the premises, as well as to clarify the impact of works of art in the interi­or on the psychophysical state of a person. The research methodology contains general scientific theoretical methods of analysis, syn­thesis, abstraction and observation, as well as art analysis. The scientific novelty is to de­termine the features of the influence of works of modern art both on the appearance of the premises themselves and on the psychophys­ical state of a person. The paper attempts to identify the features of human interaction with works of contemporary art, in particular in the aspects of interactivity, relaxation and aesthetic pleasure. The article contains an explanation of the artistic techniques used to achieve such ef­fects. The analysis of works of modern painting by the artist O. Yasenev, placed in the interior of the premises, is used in the work. Conclusions. The study identified the benefits of applying contemporary art in the interior. The use of art, which is created on the border of figurative and abstract perception, is common today. In par­ticular, such art often has a surreal component, which encourages the viewer to interact with the imagination the most. This approach is rein­forced by the technique of work with a trace of deliberate imperfection, which also creates the ground for co-creation. Such work can divert the attention of the recipients, distract them from everyday worries and promote their relax­ation. The mentioned technique also contrib­utes to the visual expansion of the space of the room. In fact, such criteria should be followed by the designer when selecting works of art in the design of modern interiors.
The purpose of our research is to consider graphic design in the aspect of combining the incompatible – complementarity, and to identify ways to organize and develop the professional thinking of a designer. Research methods – analysis of synthesis of scientific, technical and humanitarian cultures in the field of graphic design; an attempt to apply the methods of researching the science of "centauristics" to the study of contemporary design. Scientific novelty. For the first time an attempt is made to apply the «centauristic» method to the study of the state of modern graphic design. Conclusions. Graphic forms of information cause certain feelings and create a positive or negative (in the case of unsuccessful forms) environment, adjust the emotional state of people to callogathy or the degradation of behavioral models. The principle of complementarity should be embedded in the modern education base, especially in the professional education of the design industry. This will help to shape not only a harmoniously developed personality, but also to become a specialist in design, capable of design thinking, generation of ideas and their implementation in the reality.
The purpose of this research is to systematize and present the acquired in the process of personal teaching effective teaching methods and techniques, as well as meaningful conclusions in the context of the course “Computer Technology in Design” for its optimization. Research methodology. The research is based, first of all, on the author’s remarks and observations on the peculiarities of mastering by students of the speciality “Graphic Design and Advertising” of the Kyiv National University of Culture and Arts the functionality of graphic editors. That is, among the scientific methods in the preparation of the article were used methods of observation, experiment, comparison, classification, systematization, scientific analysis. Scientific novelty. The study has found that the current model of teaching computer science to designers focused on the study of graphic editors needs to be improved and updated in the context of current trends in computer design. Therefore, taking into account the existing shortcomings, it was proposed to optimize the training approach in four main positions: study of digital art terminology; working out of technical receptions; combination of basic artistic principles with program functionality; education of analytical qualities in students (graphic image analysis). Thus, all volume of the tasks directed on working off of technical receptions in combination with basic art bases is classified into three categories according to their maintenance: algorithmic tasks (the result is predicted); creative tasks (the result is variable, unpredictable); combined tasks (the result is variable). The practical block of tasks for studying graphic editors Adobe Photoshop and Adobe Illustrator for 1–2 years students, successfully tested during the educational process during 2018–2021, is reflected in the table, and the relevant analytical conclusions are presented in the form of infographics. Conclusions. As it was proved in the course of the research, it is the accumulated teaching experience in the context of theoretical substantiation that can experimentally help to determine a quality educational model. As a result, it was possible to systematize the effective teaching methods and techniques acquired during personal teaching, to present a successfully tested set of tasks, as well as to formulate theses on optimizing the educational model in the context of the “Computer Technology in Design” course.
The aim of the research is to find out the form-making, artistic-constructive and technological features of small-scale production of Ukrainian glass-making enterprises at the end of the twentieth century on the basis of a separate category of products, namely decorative and household utensils. Research methodology. Methods of diachronic and synchronous description of artistic phenomena, method of formal analysis and synthesis, structural-functional and stylistically typological method as well as interview method are used. Scientific novelty. The article is a part of a scientific study that for the first time in the Ukrainian art studies addresses the problems of design of smallscale production of blown glass producers, in particular in the context of the work of one of the most developed enterprises of the country – Lviv experimental ceramic and sculpture factory. Conclusions. The blown glass manufactory LEKSF, which functioned during the period of 1962–2005, became the focal point for the continuation and development of the traditions of the classical Ukrainian blown glass and the base for the work of glass sculptors from the whole Soviet Union. Actually, in 1989 the international symposiums of blown glass in Lviv, which made it into the history of the world studio movement and had a significant impact on the development of glass making
Top-cited authors
Danylo Kosenko
  • Kyiv National University of Technologies and Design
Natalia Udris-Borodavko
  • Kyiv National Univercity of Culture and Art