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Żeby zrozumieć współczesny status dyskursów, których przedmiotem jest obraz, w szczególności studiów nad obrazami powstających we współczesnej humanistyce francuskiej, należy wziąć pod uwagę konsekwencje ewolucji historii sztuki: nie tylko jej wewnętrzne przemiany, ale też zewnętrzne wobec niej efekty redefiniujące pole humanistyki. Niezależnie od tego, co twierdzi się na temat współczesnego stanu tej dyscypliny, logika dokonujących się w jej ramach przekształceń była kluczowa dla używanych d...

Krytyczne rozszczepienie w łonie strukturalizmu, wykryte, a częściowo stworzone przez autora Études sémiologiques, nie sprawiło, że zerwał on z kierunkiem, którego esencję stanowiło wprowadzenie modelu językoznawczego do humanistyki jako całości. Mimo problemów, które ujawniła praktyka badawcza, Marin pozostał strukturalistą. Rzecz jasna, kryzys całego paradygmatu nie pozostał bez wpływu na to, co pisał autor Opacité de la peinture. Na skutek wewnętrznego napięcia między wymogami praktyki nau...

Kim są „nasi umarli”? To przedstawiciele zapomnianych dyscyplin, twórcy modeli myślenia uznanych za przestarzałe, porzuconych na ołtarzu teoretycznej i metodologicznej nowości, anachronicznych. Semiologia (nie tyle pikturalna, ile semiologia w ogóle, jako fragment przedsięwzięcia strukturalistycznego) jest obecnie – myślę tu o drugiej dekadzie xxi wieku, choć ta diagnoza dotyczy co najmniej kilkudziesięciu ostatnich lat – postrzegana jako projekt wyczerpany, a nawet niebezpieczny. Metoda, któ...

Wydana w 1993 roku książka Pouvoirs de l’image jest świadectwem ostatecznego przekształcenia francuskiej myśli o obrazie. Louis Marin nie tylko dystansuje się w niej wobec pytań zadawanych w ramach historii sztuki rozumianej jako naukowy projekt będący efektem adaptacji teorii de Saussure’a, lecz także wyciąga ostateczne konsekwencje z badań nad reprezentacją. Zadaje pytanie o obraz, przy czym odżegnuje się od rozpowszechnionego w myśli zachodniej przekonania o metafizycznej pośledniości tego...

Teoretyczna słabość historii sztuki i poznawcza nieefektywność studiów nad kulturą wizualną sprawiają, że obrazy pozostają dla nas wyzwaniem. Ikonofilia jest alternatywną perspektywą, w ramach której są one - w końcu - traktowane poważnie. Historia ikonofilii we francuskiej humanistyce (przede wszystkim w semiologii pikturalnej), służy do nakreślenia postulowanej przyszłości myśli o obrazie. Nie chodzi tu o tradycyjną prezentację dziejów pojęcia obrazu, ale o namysł nad różnymi strategiami rozumienia obrazu w humanistyce, których efektem jest teoria. A więc praca dotyczy problematyki obrazu jako fenomenu, który tworzy historię i teorię. (fragm. recenzji prof. Marty Leśniakowskiej) The theoretical weakness of history of art and the cognitive inefficiency of studies on visual culture cause images to remain a challenge for us. Iconophilia is an alternative perspective, within which they are (finally) taken seriously. The history of iconophilia in French humanities (in pictorial semiology in particular) serves the purpose of drafting the proposed future of the thought on images. It is not about a traditional presentation of the history of the notion of an image, but about reflecting on the various strategies of understanding images in the humanities, the effect of which is theory. This study, therefore, relates to the issue of image as a phenomenon, which writes history and theory. (excerpt from a review by Prof. Marta Leśniakowska)

This article considers the technical, technological, and archival aspects of the study of Old Believer carved works of art (icons and crosses) of the Lower Pechora, whose origin is associated with the Velikopozhensky Monastery on the Pizhma River (currently, Ust-Tsilma District of the Komi Republic). The reason for the study is the hypothesis about the local origin of the ochre used for painting the icons, as there are rich deposits in the vicinity of the village of Skitskaya (on the site of the former Velikopozhensky Skete). According to written sources, they were developed until the first quarter of the twentieth century. The article describes the methods of studying the composition of ochre samples from deposits in the vicinity of the village of Skitskaya, the colours of The Cross of Golgotha, a Velikopozhensky carved icon from the collection of the National Gallery of the Komi Republic (Syktyvkar). Also, the authors speak about the palette of F. O. Anshukov, a hereditary Old Believer spoon maker from the village of Skitskaya, research results, and their correlation with data from written sources. The study demonstrates that the white and other pigments of The Cross of Golgotha icon contain white lead. The red pigment is minium. The blue pigment corresponds to the composition of Prussian blue. Natural pigments (caput mortuum, ochre) are not used. In the spoon maker’s palette, red, brown, and blue pigments are mixed with lead white with an admixture of quartz, barite, and gypsum. Minium was used as a red pigment. The composition of the blue pigment corresponds to Prussian blue. The white paint in the palette is zinc white. The green paint was replaced with zinc white with an arsenic-containing pigment (Scheele’s green?). The brown paint contains iron oxides, which suggests the natural origin of the pigment (caput mortuum). The results of the research testify that in the eighteenth and nineteenth centuries, the inhabitants of the Velikopozhensky Skete and their descendants, masters of “Pyzhem painting” on wood, used mainly imported pigments of artificial origin., Статья посвящена технико-технологическим и архивным аспектам исследования старообрядческой резной пластики (икон и крестов) Нижней Печоры, происхождение которой связывается с Великопоженским скитом на р. Пижма (современный Усть-Цилемский район Республики Коми). Поводом к исследованию послужила первоначальная гипотеза о местном происхождении использованных в окраске икон охр, богатые месторождения которых в окрестностях деревни Скитской (на месте бывшего Великопоженского скита), по данным письменных источников, разрабатывались до первой четверти XX столетия. Описываются методы проведенного исследования состава образцов охры из месторождений в окрестностях д. Скитская, красок великопоженской резной иконы «Крест Голгофский» из собрания Национальной галереи Республики Коми (Сыктывкар), а также с палитры потомственного старообрядческого мастера-ложечника Ф. О. Аншукова из д. Скитская, результаты исследований и их корреляция с данными письменных источников. Установлено, что в составе белого и других пигментов с иконы «Крест Голгофский» присутствуют свинцовые белила. В качестве красного пигмента использован сурик. Синий пигмент отвечает составу берлинской лазури. Природные пигменты (мумия, охры) не использованы. В палитре ложечника краски красного, коричневого и синего цветов замешивались на свинцовых белилах с примесями кварца, барита и гипса. В качестве красного пигмента использован сурик. Состав синего пигмента соответствует берлинской лазури. Белая краска в палитре представлена цинковыми белилами. Зеленая краска замещена на цинковых белилах с мышьяксодержащим пигментом (шееловая зелень?). Краска коричневого цвета содержит окислы железа, что позволяет говорить о природном происхождении пигмента (мумии). Результаты исследований в совокупности с данными письменных источников свидетельствуют о том, что в XVIII–XIX вв. насельники Великопоженского скита и их потомки, мастера «пижемской росписи» по дереву, использовали преимущественно привозные красочные пигменты искусственного происхождения.

For the most part, the museum network of modern Russia formed in the first decades of the USSR. At the time, works from nationalized collections of considerable size were distributed on a large scale and somewhat chaotically among the already existing and mostly capital museums and newly created regional ones. This factor had a significant impact on the formation of the composition of most regional collections, and seriously affected the specifics of registering items such as those made of porcelain and the peculiarities of specialists’ access to them. Thus, the collection of porcelain of Western European production of the Ekaterinburg Museum of Fine Arts has around two hundred items. Despite the relatively modest number, it will nevertheless help one get sufficiently acquainted with the main trends in the development of porcelain in European countries between the eighteenth and the first half of the twentieth centuries. The history of its formation demonstrates the main trends in the replenishment of collections in the Soviet years. For many decades, namely, from the moment of the establishment of the museum in 1936 until the early 2010s, the collection in question remained practically unstudied, which was largely due to the lack of specialists characteristic of many regional museums of that time, as well as the low availability of sources for comparing and typologizing the works stored in the collections.Referring to the collection of the Ekaterinburg Museum of Fine Arts, the article considers the main problems associated with the study of regional collections of European porcelain: the fragmented provenance of artworks transferred from nationalized collections in the first decades of the museum’s development; the complex format of working with private collections due to the specifics of the socio-political system of the Soviet state which did not welcome private collecting; insufficient attention to the marks on the artworks, which can confuse an inexperienced researcher, and, as a result, the urgent need for a significant updating and addition of porcelain marks to the currently existing reference books., Музейная сеть современной России во многом сложилась в первые десятилетия советской власти. В это время произведения из крупных национализированных коллекций масштабно и несколько хаотично распределялись между уже существовавшими преимущественно столичными музеями и вновь созданными региональными. Этот фактор оказал существенное влияние на формирование состава большинства региональных собраний, а также серьезно сказался на специфике фиксации предметов декоративно-прикладного искусства, в частности фарфора, и особенностях обращения к этому материалу специалистов. Так, коллекция фарфора западноевропейских производств ЕМИИ насчитывает немногим меньше двухсот предметов. Несмотря на относительно скромный количественный состав, она, тем не менее, позволяет достаточно подробно познакомиться с основными тенденциями развития фарфора в странах Европы XVIII — первой половины XX в., а история ее формирования демонстрирует основные тенденции пополнения коллекций в советские годы. На протяжении многих десятилетий, а именно с момента создания музея в 1936 г. и до начала 2010-х гг., рассматриваемая коллекция практически не изучалась, что во многом было обусловлено объединяющим многие региональные музеи этого времени отсутствием профильных специалистов, а также малой доступностью источников для сравнения и типологизации хранящихся в собраниях произведений.На примере Екатеринбургского музея изобразительных искусств рассматриваются основные проблемы, связанные с изучением региональных коллекций западноевропейского фарфора: оборванный провенанс произведений, передаваемых из национализированных коллекций в первые десятилетия развития музея; сложный формат работы с частными коллекциями, обусловленный спецификой социально-политического строя советского государства, не приветствовавшего частное коллекционирование; недостаточное внимание к нанесенным на произведения маркам, способным запутать неопытного исследователя, и, как следствие, назревшая необходимость существенной актуализации и дополнения существующих на сегодняшний день марочников-определителей.

Belonging to the style of late eclectics, products of the Ekaterinburg Lapidary Factory are scarce in the collections of Russian museums. Their small size and complex forms did not correspond to the notion of objects worthy of preservation. For this reason, most of the works created by Ural masters in the 1870s–1900s did not enter their collections at the early stage of the formation of Soviet museums. The insignificant presence of these works in available collections, the possibility of becoming acquainted with many of them only from graphic materials, together with a general negative attitude towards the decorative arts of late eclecticism and historicism, led to a lack of systematic analysis, often replaced by general phrases about decadence and insufficient artistic level.Meanwhile, more and more works by the Imperial Lapidary Factory in Ekaterinburg appearing on the antique market during this period are evidence of a strenuous search for new forms. The absence of a recognizable approach to form makes the attribution of such items extremely difficult, and often impossible without reference to the graphic heritage of the factory. Scattered and still awaiting systematization, it indicates the involvement of artists of different trends in the search for new forms and principles of decorating stone works. The article considers the existing complexes of graphic works connected with the activity of the Ekaterinburg Lapidary Factory, restoring the fate of previously undescribed objects. Also, the author provides information on the known materials, analyzing the style of proposed and executed designs and providing examples of attributions made based on drawings. Several graphic sheets are introduced into scholarly circulation for the first time., Созданные в стилистике поздней эклектики произведения Екатеринбургской гранильной фабрики не часто можно встретить в собраниях отечественных музеев: небольшие размеры и сложные формы не соответствовали представлению о достойных сохранения предметах. В связи с этим большая часть образцов, созданных уральскими мастерами в 1870–1900-х гг., не была музеефицирована на раннем этапе формирования советских музеев. Незначительное присутствие этих работ в доступных коллекциях, возможность познакомиться со многими из них лишь по графическим материалам, вкупе с общим негативным настроем по отношению к декоративному искусству поздних эклектики и историзма привели к отсутствию систематического анализа, часто замененного общими фразами об упадке и недостаточном художественном уровне.Между тем, все в большем количестве появляющиеся на антикварном рынке произведения императорской Екатеринбургской гранильной фабрики указанного периода свидетельствуют о напряженном поиске новых форм. Отсутствие узнаваемого подхода к форме делает чрезвычайно сложной атрибуцию таких предметов, часто невозможную без обращения к графическому наследию фабрики. Разрозненное и еще ждущее своей систематизации, оно свидетельствует о привлечении художников самых разных направлений к поиску новых форм и принципов декора камнерезных произведений.В статье рассмотрены существующие комплексы графических памятников, связанных с деятельностью Екатеринбургской гранильной фабрики, восстановлена судьба ранее не описанных предметов и дополнены сведения об известных материалах, проанализирована стилистика предложенных и исполненных проектов, представлены примеры выполненных на основе рисунков атрибуций. Ряд графических листов впервые вводятся в научный оборот.

Seit Beginn des 20. Jahrhunderts wird der Essay nicht nur als textuelles Phänomen gehandelt, sondern auch als »Geisteshaltung« (Musil) und »existenzielle Kategorie« (Bense). In diesem Verständnis macht Aurel Sieber den Essay als metaästhetische Erkenntnisweise greifbar, ohne ihm dafür eine Form aufzwingen zu müssen. Er etabliert eine praxeologische Perspektive, die den Blick nicht nur auf die künstlerischen Erzeugnisse, sondern auf jegliche Aspekte der Produktion richtet. Am Beispiel von Harun Farocki vollzieht er so über vier Jahrzehnte hinweg die Genese einer essayistischen Praxis als genuine Form der Erkenntnis nach.

Doktorska disertacija na temu metaspiritualne umjetnosti u hrvatskoj umjetnosti druge polovine 20. stoljeća zasnovana je na teorijskom istraživanju metaspiritualne umjetnosti, te na primjeni provedenog istraživanja u studijama slučajeva hrvatskih umjetnika Borisa Demura i Mirka Zrinšćaka. Navedeni metodološki postupak ujedno omogućuje razumijevanje rekontekstualizacije spiritualnog u umjetnosti postavangarde i postmodernizma, s naglaskom na hrvatsku umjetničku produkciju druge polovine 20. stoljeća. Provedeno istraživanje pokazuje da u hrvatskoj umjetnosti postoje umjetničke pojave koje se u literaturi dovode u kontekst metaspiritualnog, premda se u neujednačeno tumače. Studija konkretnih slučajeva pokazuje da se kiparski opus Mirka Zrinšćaka u cjelini može svrstati u metaspiritualnu umjetnost, dok se metaspiritualnost u radu Borisa Demura očituje u kasnijem ciklusu spiralne umjetnosti (od 1982./83.). Tijek istraživanja i odabir znanstvene metodologije proizašao je iz provjere hipoteza disertacije, od temeljne pretpostavke koja je podrazumijevala postojanja značajnog broja umjetničkih pojava koje se mogu povezati s metaspiritualnim praksama, ali se s obzirom na nedovoljnu istraženost teme nesustavno i neujednačeno tumače. Izvedena su opsežna temeljna istraživanja teorijske platforme metaspiritualne umjetnosti, uz izvore dosadašnjih istraživanja teme u svjetskoj i hrvatskoj povijesti i teoriji umjetnosti, uključivši saznanja iz drugih znanstvenih polja. Dvodijelna struktura disertacije proizašla je iz odabira znanstvene metodologije i postupaka provjere polazišnih hipoteza, a ukupno obuhvaća pet poglavlja. U prvom dijelu disertacije, nakon uvodnog poglavlja i navođenja razloga, svrhe, ciljeva i hipoteza znanstvenog istraživanja, te definiranja temeljnih pojmova, pregledno su iznesena saznanja o dosadašnjim istraživanjima teme u svjetskoj i hrvatskoj literaturi. Pokazuje se da je na prostoru bivše Jugoslavije, od 1970-ih pa tijekom 1980-ih, postojala izrazita teorijska aktivnost na temu metaspiritualne umjetnosti. Slovenski teoretičar Tomaž Brejc u literaturu je uveo termin transcendentalni konceptualizam, vežući ga uz specifično djelovanje slovenske grupe OHO u periodu 1970. – 1971. Neformalna teorijska i istraživačka grupa Zajednica za istraživanje prostora (1982. – 1989.) u brojevima 3. i 4. časopisa Mentalni prostor (1986. i 1987.) iznosi prijedloge pristupa u teorijskom izvođenju metaspiritualnosti. U Hrvatskoj, početkom1980-ih, povjesničar umjetnosti Marijan Susovski u prostoru Studio Galerije suvremenih umjetnosti pripremio je dvije izložbe umjetnika Vladimira Dodiga Trokuta (1980. i 1982.), upućujući u tekstu kataloga na metaspiritualno određenje Dodigovih djela. Od posebnog značaja za postuliranje teme disertacije je teorijski rad Miška Šuvakovića, s obzirom na postojanje determinacije spiritualnog, diferencijacije spiritualnog/metaspiritualnog i klasifikacije metaspiritualne umjetnosti. Naročito Šuvakovićev model tumačenja aspekata spiritualnosti, apostrofiran sintagmom „Prelaženje formalizma“, i objavljen u časopisu Mentalni prostor 3 (1986.), te članak „Metaspiritualnost“ iz 1989. Od iznimnog značaja za definiranje temeljnih pojmova disertacije je Pojmovnik teorije umjetnosti, odnosno Pojmovnik suvremene umjetnosti, te Postmoderna, istog autora. U trećem poglavlju disertacije istražena je recepcija apstraktne umjetnosti u hrvatskoj umjetnosti, počevši od 1950-ih, pa do kraja stoljeća. Među hrvatskim umjetnicima koji su najdosljednije afirmirali metaspiritualnu praksu prepoznati su Dodig Trokut i Željko Kipke. Najopsežnije poglavlje disertacije bavi se teorijskim postuliranjem metaspiritualne umjetnosti, pri čemu su istražene teorije modernizma, te posebice postmodernizma koje temu znanstveno postuliraju u drugu polovinu 20-stoljeća. Iz teorijske platforme u disertaciji se izvodi teorijsko interpretativni okvir radi njegove primjene na studije slučajeva, u drugom dijelu disertacije. Drugi dio disertacije obuhvaća teorijsko izvođenje metaspiritualne umjetnosti na studijama konkretnih slučajeva, Borisa Demura i Mirka Zrinšćaka. Zasnovano je na provjeri hipoteze da se cjelokupni kiparski opus Zrišćaka i spiralni ciklus Demura mogu svrstati u korpus metaspiritualne umjetničke prakse, a navedeni umjetnici značajke ove umjetnosti artikulirali kroz estetiku nevidljivog, interpretaciju arhetipskog, kontekstualizaciju kozmičkog i ritualni pristup u izvedbi djela. Uporište u potvrđivanju teza pružila je kritička recepcija. U oba primjera, u disertaciji se metaspiritualno izvodi iz ritualno-kontemplativne izvedbe djela, uz primjenu pojmova metaauratska umjetnosti i neoritualna funkcija djela. Riječ je o novotvorbama koje su proizašle iz termina o „auri“ i „ritualnoj funkciji umjetnosti“ njemačkog filozofa Waltera Benjamina. Repetitivnoj izvedbi u obradi umjetnine i tretmanu materijala kod Zrinšćaka, te repeticiji istog motiva u spiralnom ciklusu Demura, pripisali smo obilježje neoritualne umjetničke prakse kojom se težište s rada na materijalu (Zrinšćak) ili motiva (Demur) izmješta na razinu postizanja auratskog efekta. The dissertation on metaspiritual art in Croatian art of the second half of the 20th century is based on theoretical research on metaspiritual art and on research conducted on case studies of Croatian artists Boris Demur and Mirko Zrinšćak. Such a methodological approach allows at the same time an understanding of the recontextualization of the spiritual in the art of the post-avant-garde and post-modernism, focusing on Croatian art production in the second half of the 20th century. The research conducted shows that in Croatian art were artistic phenomena related to the (meta-)spiritual in literature, although they are not uniformly interpreted. Specific case studies show that the sculptural works of Mirko Zrinšćak can be classified overall as metaspiritual art, while metaspirituality manifests itself in the works of Boris Demur in the later period of Spiral Art (from 1982/1983). The research process and scientific methodology were based on hypothesis testing, starting from the fundamental assumption that there are a considerable number of artistic phenomena that can be associated with metaspiritual practices, but which are interpreted in an unsystematic and inconsistent way due to the lack of research on the subject. Extensive basic research was conducted on the theoretical platform of metaspiritual art, using existing research on the subject in global and Croatian art history and theory, as well as findings from other scientific fields. The division of the dissertation into two parts results from the choice of scientific methodology and the procedure for testing the initial hypotheses and comprises a total of five chapters. The first part of the dissertation, after the introduction and elaboration of the reasons, purpose, objectives and hypotheses of the scientific research, as well as the definition of the basic terms, contains an overview of the current scientific research on this topic in the world and Croatian literature. It can be seen that, on the territory of the former Yugoslavia, since the 1970s and in the 1980s, there was extensive theoretical activity related to the articulation of metaspiritual art. The Slovenian theorist Tomaž Brejc coined the term transcendental conceptualism and associated it with the specific activities of the Slovenian group OHO in the period 1970-1971. The informal and research group Zajednica za istraživanje prostora (1982-1989) provides in issues 3 and 4 of the journal Mentalni prostor (1986 and 1987) its proposals for the approach to the theoretical representation of metaspirituality. In Croatia, in the early 1980s, art historian Marijan Susovski prepared two exhibitions of the artist Vladimir Dodig Trokut (1980 and 1982) in the studio of 323 the Gallery of Contemporary Art and referred in the catalog to the metaspiritual in Dodig's art. Of particular importance for the formulation of the subject of this dissertation is the theoretical work of Miško Šuvaković, considering the determination of the spiritual, the distinction between spiritual and metaspiritual art, and the classification of metaspiritual art. In particular, Šuvaković's model of interpreting spiritual aspects, called "Crossing Formalism," published in Mentalni prostor 3 (1986), and his 1989 article "Metaspirituality.” Pojmovnik teorije umjetnosti, Pojmovnik suvremene umjetnosti, and Postmoderna by the same author are of extraordinary importance for the definition of the basic concepts of this dissertation. The third chapter of the dissertation deals with the reception of abstract art in Croatian art, beginning in the 1950s until the end of the century. Among the Croatian artists who most consistently affirmed metaspiritual practice were Dodig Trokut and Željko Kipke. The most extensive chapter of the dissertation deals with the theoretical formulation of metaspiritual art, exploring theories of modernism and especially postmodernism, that postulate the subject in the second half of the twentieth century. The theoretical and interpretive framework is derived from the theoretical platform of the dissertation and applied to case studies in the second part of the dissertation. The second part of the dissertation includes theoretical studies of metaspiritual art on concrete case studies of Boris Demur and Mirko Zrinšćak. All of Zrinšćak's sculptural work and Demur's spiral works can be classified as metaspiritual art practices, and these artists have articulated the characteristics of this art through the esthetics of the invisible, the interpretation of the archetypal, the visualization of the cosmic, and the ritual approach to performance. The basis for the confirmation of this thesis was the critical reception. In both cases, the metaspiritual in this dissertation is derived from ritual and contemplative art performance, using the terms meta-auratic art and neoritual function. These are neologisms derived from the terms “aura” and “ritual art function” by the German philosopher Walter Benjamin. The repetitive performance in the treatment of the artwork and material in Zrinšćak's work and the repetition of the same motif in Demur's spiral works have been attributed the characteristics of a neoritual art practice, in which the emphasis on the work on the material (Zrinšćak) or on the motif (Demur) is shifted to the level of achieving an auratic effect.

Die Kunstphilosophie ist in Bewegung und erlebt nicht zuletzt im deutschsprachigen Kontext eine dynamische Weiterentwicklung. Über die Fachgrenzen der philosophischen Ästhetik hinaus wirken diese Debatten hinein in die politische Philosophie, die Kunst- und Kulturwissenschaft, aber auch in die Theater-, Medien- und Musikwissenschaft. Zugleich partizipieren sie an den kunstnahen Diskursen im Umfeld verschiedener künstlerischer Praktiken. Sie bringen so den Gestus der Selbstreflexion und Selbstverständigung in den universitären Disziplinen wieder zur Geltung. Das "Handbuch Kunstphilosophie" bildet anhand systematischer Stichworte Grundpositionen kunstphilosophischen Denkens ab. Es wirft Schlaglichter auf die Theoriegeschichte sowie auf aktuelle Positionen, ohne sie einer Schulenbildung zu unterwerfen., + ID: 592659

Naručitelji i umjetnici u Rijeci tijekom 17. i 18. stoljeća do sada su bili tek djelomično istraženi i katalogizirani. Stoga je temeljni cilj ove disertacije bio kroz brojne novopronađene arhivske dokumente izraditi analitičan katalog naručitelja i donatora umjetnina, ali i aktivnih majstora u Rijeci tijekom 17. i 18. stoljeća. Pronalaskom dosad nepoznatih arhivskih podataka prvi puta su sustavno prikazane aktivnosti i funkcije pojedinih uglednih naručitelja i donatora. Isto tako nove arhivske vijesti omogućile su brojne podatke o djelatnosti određenih umjetnika i majstora. Metodom atribucije pojedinim je kiparima i altaristima nadopunjen katalog djela na području Kvarnera, ali i u Venetu, Furlaniji i Sloveniji. Konačno, tijekom istraživanja je otkriveno nekoliko dosad u potpunosti nepoznatih zlatara i slikara, a koji su djelovali u gradu tijekom 18. stoljeća. Sustavno arhivsko istraživanje provedeno je u osam arhiva u Hrvatskoj i šest u inozemstvu. Istovremeno su se odvijala i terenska istraživanja u crkvama na širem području Kvarnera, ali i u Veneciji, Venetu, Furlaniji, Austriji i Sloveniji. Stoga je u disertaciji po prvi puta objavljen katalog od 82 umjetnička djela koja se mogu povezati s pojedinim naručiteljima ili donatorima u Rijeci, kao i tablica od 32 arhivski potvrđena nepoznata umjetnika i majstora prisutna u gradu tijekom 18. stoljeća. Osim standardno povijesno-umjetničke analize umjetnina u radu su objavljena mnogobrojna nova saznanja o kontekstu narudžbe određenih djela, kao i o društvenom, rodbinskom i ekonomskom statusu naručitelja ili donatora. Pri pisanju disertacije koristila se, uz to, primijenjena metoda ,,case study”, odnosno analiza pojedinih slučajeva koja se u suvremenim istraživanjima umjetnosti ranog novog vijeka pokazala izuzetno uspješnom. U prvoj polovici 17. stoljeća najznačajnija narudžba u gradu odnosila se na gradnju nove isusovačke crkve svetog Vida zajedno s kolegijem. Projekte za budući kompleks izradio je arhitekt Giacomo Briano, a prvu fazu gradnje crkve do kraja 1640-ih vodio je Francesco Olivieri. Također, riječki redovnici će prvi stupiti u kontakt s altaristom Leonardom Pacassijem kada će započeti barokizacija interijera crkava podizanjem novih mramornih oltara. Glavni oltar u franjevačkoj crkvi na Trsatu podignut sredstvima braće Uzolin 1692. postat će ikonografski obrazac kojeg će slijediti svi riječki naručitelji prilikom naručivanja mramorne opreme za gradske crkve. Tijekom druge polovice 17. stoljeća u gradu djeluju lokalne slikarske radionice Giovannija Francesca Gladicha (Ivan Franjo Gladič) i Giovannija Battiste Cosmina. Međutim, 644 dio uglednih patricijskih obitelji i bogatih trgovaca, ali i redovničkih zajednica naručivali su djela u prvoj četvrtini 18. stoljeća i kod venecijanskog slikara Cristofora Tasce. Riječki isusovci odredili su daljnji put naručivanja mramorne altaristike i opreme kada su 1711. angažirali goričkog altarista Pasqualea Lazzarinija za podizanje novog glavnog oltara u svetom Vidu. Isti majstor će tijekom sljedećih petnaestak godina dobiti i narudžbe za klesanje oltara svetog Petra i Presvetog Sakramenta u Zbornoj crkvi, ali i oltara svetog Ignacije Loyolskog i onog svetog Alojzija Gonzage i Stanislava Kostke u isusovačkoj crkvi. S goričkim altaristom na oltarima za riječke naručitelje surađuje gradišćanski kipar Paolo Zuliani unutar čije je radionice svoju naobrazbu započeo i mladi Antonio Michelazzi. Tih godina s Lazzarinijem jedino neće stupiti u kontakt obitelj Orlando, a koja će novi monumentalni oltar za Zbornu crkvu naručiti kod ljubljanskog altarista Luke Misleja. Istovremeno isusovci angažiraju arhitekta Carla Martinuzzija da bi dovršio gradnju crkve svetog Vida podizanjem galerija i kupole. Dolaskom kipara, altarista i arhitekta Antonija Michelazzija u grad 1727. bogati trgovci i aristokracijske obitelji po prvi puta su dobili mogućnost naručivanja mramornih kipova i oltara u lokalnoj radionici tada smještenoj ispred gradskih zidina. Povoljna ekonomska situacija u Rijeku je privukla i slikare Giovannija Battistu Fayenza i Giuseppea Paoluccija te zlatare Mattiu Cortiva i Giovannija Battistu Fanella. Sve do pojave prvih lokalnih zlatarskih radionica riječki naručitelji su liturgijske predmete nabavljali u prestižnim zlatarskim centrima poput Augsburga, Beča ili Venecije. Tijekom 18. stoljeća kao najvažniji naručitelji i donatori ističu se obitelji Androcha i Orlando te bogati trgovci poput Pietra Felicea Tremaninija, Martina Sumreckera, Cristofora Branchovicha i Giuseppea Minollija. Uz njih, potrebno je spomenuti i pripadnike klera poput svećenika Girolama de Stembergara, pićanskog biskupa Giorgija Saveria Francesca de Marottija, župnika u Donjoj Idriji Riječanina Giovannija Buratellija i arhiđakona Pietra Francesca Svilocosija. Također, veliku ulogu u podizanju mramornih oltara i kupnji novih liturgijskih predmeta imale su riječke redovničke zajednice koje su činili augustinci, isusovci, kapucini i benedektinke, kao i najvažnije bratovštine poput one Gospe Žalosne u crkvi svetog Vida, Bezgrešnog Začeća u samostanu svetog Jeronima te Presvetog Sakramenta i Gospe Karmelske u Zbornoj crkvi. S druge strane, određena naručiteljska aktivnost vezana je uz gradsko vijeće i kapetana, a ona se većinom odnosila na gradnju ili obnovu javnih građevina. Sredinom 18. stoljeća za riječko zlatarstvo posebno je bio važan dolazak salzburškog majstora Francesca Schenfelda oko 1740. u obližnji Bakar. Tog udomaćenog majstora će tijekom sljedećih godina angažirati riječke redovničke zajednice, bratovštine, privatni naručitelji te Zborni kaptol. Istovremeno je u Rijeci djelovao i zlatar Gaspare Anderlich s čijim se djelima susrećemo u riječkoj Zbornoj crkvi. U svibnju 1755. u Rijeci je boravio venecijanski altarist Pietro Fadiga kako bi potpisao ugovor za podizanje oltara svetog Vinka Fererskog u Zbornoj crkvi. Spomenuta narudžba mu je omogućila nove poslove u Rijeci na kojima surađuje s kiparom Marcom Chiereghinijem, a samim time Antonio Michelazzi po prvi puta dobiva konkurenciju u gradu. Značajne urbanističke promjene u Rijeci kroz drugu polovicu 18. stoljeća provodili su arhitekti i inženjeri Francesco Saverio de Bonomo i Anton Gnamb s ciljem poboljšanja i modernizacije grada. Nakon Michelazzijeve smrti 18. rujna 1771. činilo se da će se riječki naručitelji za nabavu oltara i kipova morati ponovno okrenuti furlanskim radionicima. Međutim, već 1775. u grad dolazi kipar, altarist i arhitekt Sebastiano Petruzzi koji nastavlja klesati mramorne oltare i kipove u baraki u blizini Fiumare. Osim toga, on će kao i Michelazzi od 1775. do 1787. u ulozi arhitekta i projektanata sudjelovati u raznim javnim gradnjama. Tih godina u Rijeci djeluje i slikar Giuseppe Candido kojeg su podjednako angažirali privatni naručitelji i kler. Naposljetku, potrebno je spomenuti da je kontinuitet klesanja mramornih kipova i oltara krajem 18. stoljeća nastavio i udomaćeni majstor Saverio Medelin iz Rovinja. Donors and artists active in Rijeka during the 17th and 18th centuries have so far only partially been studied and catalogued. Therefore, the primary goal of this dissertation was to create an analytical catalogue of donors and artwork commissions as well as masters active in Rijeka in this period. Previously unknown activities and roles of notable donors were discovered trough the research of newly found archival documents and presented systematically for the first time. As another result of archival research, new information concerning specific artists and their production has been uncovered as well. By applying the method of attribution, artworks were added to the catalogues raisonnés of certain sculptors and altar builders in the area of the Kvarner Bay as well as Veneto, Friuli and Slovenia. Finally, several completely unknown goldsmiths and painters who worked in Rijeka during the 18th century are brought to light in the thesis. Systematic analysis of archival documents was implemented in eight Croatian and six foreign archives, while field research was done in the churches of the wider Kvarner Bay area, Venice, Veneto, Friuli, Austria and Slovenia. As a result, the dissertation contains a catalogue of 82 artworks which relate to specific donors and commissions in Rijeka and a table with 32 previously unknown artists active locally in the 18th century, whose names and presence are confirmed by archival sources. Other than standard art-historic analysis, the thesis includes numerous news relating to the context of the artworks’ commissions and the donors’ social and financial standing and familial connections. Additionally, the thesis includes several case studies, the method of which was proven very successful in contemporary research of early modern period art. The most significant commission in 17th century Rijeka was the construction of the Jesuit Church of St. Vitus and its adjoining college. The complex was designed by Giacomo Briano, while the first phase of its construction was led by Francesco Olivieri and completed by the end of the 1640s. The Rijeka Jesuits were the first to establish contact with altar builder Leonardo Pacassi, which sparked numerous large-scale renovations of church interiors with marble altarpieces in the baroque style. The high altar of the Trsat Franciscan church, erected in 1692 after the Uzolin brothers’ donation, however, became an iconographic model for other donors in Rijeka interested in furnishing churches in Rijeka. Even though local workshops of painters Giovanni Francesco Gladich (Ivan Franjo Gladič) and Giovanni Battista Cosmin were active in the second half of the 17th century, a number of esteemed patrician families, wealthy merchants and religious orders commissioned paintings from the Venetian painter Cristoforo Tasca as well in the first quarter of the 18th century. The Rijeka Jesuits paved the way for marble altar commissions in the 18th century when they hired Gorizian altar builder Pasquale Lazzarini for the construction of the new high altar in the Church of St. Vitus in 1711. In the following 15 years, Lazzarini executed altars dedicated to St. Peter and the Most Blessed Sacrament in the Collegiate Church as well as altars of St. Ignatius of Loyola and Sts. Aloysius Gonzaga and Stanislaus Kostka in the Jesuit church. The Rijeka altars by Lazzarini were executed in collaboration with sculptor Paolo Zuliani from Gradisca d’Isonzo, under whom young Antonio Michelazzi started his training in sculpting. The only donors in Rijeka who did not commission from Lazzarini in this period are the members of the Orlando family, who in turn hired sculptor Luka Mislej from Ljubljana to build a new monumental altar for the Collegiate Church. At this time, the Rijeka Jesuits hired architect Carlo Martinuzzi to complete the Church of St. Vitus by erecting a gallery and a dome above its circular nave. With the arrival of sculptor, altar builder and architect Antonio Michelazzi in Rijeka in 1727, wealthy merchants and noble families were presented with an opportunity to commission marble sculptures and altars from a local workshop situated in front of the city walls. As Rijeka experienced favourable economic conditions in this period, painters Giovanni Battista Fayenz and Giuseppe Paoluci as well as goldsmiths Mattia Cortivo and Giovanni Battista Fanello were drawn to the prospering city. Until the formation of local goldsmith’s workshops, the citizens of Rijeka would usually acquire liturgical objects from European centres of this trade such as Augsburg, Vienna or Venice. The Androcha and the Orlando families and wealthy merchants such as Pietro Felice Tremanini, Martin Sumrecker, Cristoforo Brancovich and Giuseppe Minolli stand out as some of the most significant donors of 18th century Rijeka. In addition to them, members of the clergy also made significant commissions, such as Girolamo de Stembergar, Bishop of Pićan Giorgio Saverio Francesco de Marotti, Donja Idrija’s minister Giovanni Buratelli (originally from Rijeka) and archdeacon Pietro Francesco Svilocosi. Religious orders in Rijeka, such as the Augustinians, Jesuits, Capuchins and Benedictines, played an important role when it came to erecting marble altars and acquiring new liturgical objects as well. This was also true of several confraternities, such as the Confraternity of Our Lady of Sorrow in the Church of St. Vitus, the Confraternity of the Immaculate Conception in the Monastery of St. Hieronymus and the Confraternities of the Most Blesses Sacrament and of Our Lady of Mount Carmel in the Collegiate Church. Certain commissions of mostly architecture and renovation of public buildings were, on the other hand, related to the City Council and the Governor of Rijeka. One of the most significant events for the development of goldsmithery in Rijeka in the 18th century was the arrival of Salzburg master Francesco Schenfeld to the nearby town of Bakar around 1740. Religious orders, confraternities, private donors and the Cathedral chapter in Rijeka made numerous commissions from this master in the following years. Goldsmith Gaspare Anderlich, whose works can be found in the Collegiate Church, was also active in Rijeka around this time. Venetian altar builder Pietro Fadiga resided in Rijeka in May 1755 in order to sign a contract in which he agreed to construct an altar dedicated to St. Vincent Ferrer in the Collegiate Church. The contract created an opportunity for Fadiga to gain several other commissions in Rijeka, executed in collaboration with Marco Chiereghini. This was the first time that Antonio Michelazzi had to work competitively alongside other sculptors in Rijeka. The most significant changes in 18th century urban planning of Rijeka were implemented by architects and engineers Francesco Saverio de Bonomo and Anton Gnamb, whose goal was to improve and modernise the city. After the death of Michelazzi on 18 September 1771, it seemed that donors from Rijeka interested in acquiring altars and sculptures would have no other choice than to turn to Friulan workshops once again. However, sculptor, architect and altar builder Sebastiano Petruzzi arrived in Rijeka in 1775 and continued to produce statues and construct altars in a shack near Rijeka’s Fiumara. Similarly to Michelazzi, Petruzzi participated in several public building projects from 1775 to 1787. Painter Giuseppe Candido, equally hired by private donors and the clergy, also resided and worked in Rijeka in this period. Finally, it should be noted that sculptor Saverio Medelin from Rovinj, residing in Rijeka at the end of the 18th century, preserved the continuity of local marble sculpture production.

This article analyzes the possibility of finding a definition of art and the work of art, especially the so called modern art, concentrating on visual art and specifically on painting. First, I briefly analyze some previous attempts and suggest a novel approach that would make it possible to define art as a special form of brainwork. To be able to do this, terms like beauty, aesthetic, and art and their mutual relations are first redefined, concentrating especially on the nature of aesthetic experience as the fundamental aspect of all life in general. Next, I suggest a distinction between craft and art and, based on this distinction, provide a definition of art in the traditional sense of the word, such as art was seen from prehistoric times to 19th century Europe. Thereafter, I suggest a definition of a work art as the realized intention of the artist in non-conceptual form. Finally, I analyze the possibility of interpretation of art according to this theory, concluding that while it is possible to interpret works of art, it is not possible to interpret art because art is the quality of the artwork, and that can only be experienced, not conceptually understood.

When speaking of semiosis of the visual art it is worth noting that it can be considered also in the aspect of semantics, which studies relation of sign elements to the world. Semantic side of an image is related to theory of art content, meaning of creation, spirituality, in particular, the symbol theory. Together with forming the idea of painting as a source of literature data and accordingly understanding of a painting in traditional literature paradigm as source of learning the outside world. The authors of the article demonstrate solidarity of oil painting in the stylistic understanding of the integrity of the image perception through the method of knowledge. In particular, the connection between figurativeness and semeiotics, which arises in the process of painting learning on the basis of literature researching and forming of artistic taste. In the article, it is shown that development of figurativeness in art should be based on art methods, in which literature is defined. Authors clarify that this is the main difference between Chinese painting and similar cultural forms. Practical application of research may be: to form educational programs and develop in integral image of artistic development.

On April 13, 2021, the academic editorial department of the T. K. Zhurgenov Kazakh National Academy of Arts. organized an international round table on the topic “The human being in contemporary art in the context of humanitarian studies”. The purpose of the round table was to discuss issues that identified methodological and theoretical aspects for upcoming issues of the Central Asian Journal of Art Studies. The round table was attended by international experts Anna Oldfield from the USA, Nigora Akhmedova from Uzbekistan, Rauza Sultanova from Tatarstan, as well as Almira Naurzbayeva, Akmaral Syrgakbayeva, Kabyl Khalykov, Valeriya Nedlina, Aliya Alimzhanova, Olga Baturina, Euphrate Mombekov, and Asiya Nurdubayeva from Kazakhstan. Among the issues discussed, were the definition of the role and state of art in the context of a world-wide pandemic (specifically in the art of America and Central Asia); the identification of new horizons concerning types of arts and trends in terms of the history and theory of art criticism; awareness of the reaction and adaptation of art in the era of a pandemic; assessment of social responsiveness in the field of informing people of the arts during a pandemic; research on pedagogical approaches to the problem of art; comprehension of anthropological discourse in the humanitarian sphere; the quintessence of problems of contemporary art; a comparative analysis of Soviet, independent traditional, and contemporary art in the context of the transformation of human artistic consciousness; restoration of interdisciplinary synthesis in the processes of anthropology and ethnology, which were overlooked in past eras; definition of cultural memory and its role in preserving continuity among the past, present and future as an important means of individual identity formation (and in a new aspect, considering scholarship on gender and postcolonial studies); reaction to art as an object of philosophical reflection as impacts the formation of the modern person as an intellectual person (mimesis, kalokagathia, aesthetic education); definition of art as a complex system of intentionality, not only as the focus of consciousness on the object, but also as going beyond the limits of consciousness; and the “marginal” state of human being in contemporary art. The theme of anthropology of art is limitless. The real actuality of the world discussed at the round table is in many respects in the theoretical field of anthropology of art. Therefore, several issues of the journal will focus on this or related topics in order to partially solve some of the issues that are at the forefront of the discourse of modern humanities today.

The purpose of this article is to cover one of the episodes in the initial stage of publishing Odessa almanacs or collections, the authors of which tried to raise to a new professional level the study of the history and theory of art and methods of familiarizing with public art. The object of our study is the collection “From the world of art and science”. Despite the general failure of the project as a periodical, two issues of the collection “From the world of art and science” should be considered a bright phenomenon of cultural development in Odessa during the era of modernization. In this case, the modernization was reflected in the desire of A. O. Matveev to lay the foundations of scientific art history in Odessa, which N. P. Kondakov did at the highest scientific level at the same time in this city, and combined it with the tasks of popularizing and teaching methods of art. The insufficiently defined collection’s character, either as a purely scientific, or as a popularizing and pedagogical one, probably did not attract representatives of the Scientific Humanitarian elite of Odessa, professors of Novorossiysk University – N. P. Kondakov, literary historian A. I. Kirpichnikov, byzantinist F. I. Uspensky, whose works could raise it to a higher level. The collection helped to familiarize first of all Odessa residents with the latest achievements of Art History thought in Western Europe at that time, because A. A. Matveev richly saturated the text with numerous references to the works of Western European scientists, the presentation of their thoughts. The collection is a source for learning about the development of art history pedagogy in Odessa, because some of its articles were lectures by teachers of the Odessa Drawing School. The elegantly published collection is one of the testimonies about the development of printing in Odessa, the experience of highquality publication of art works. The editor’s interdisciplinary approach and desire to integrate various but related branches of art and Science (History, Art History, Literary Studies, musicology) have not lost their relevance.

For the first time in art history, the article reveals the concept of “artistic image in architecture” (architectural image) through the prism of the nature of art, the cultural and historical situation and the variability of deciphering semantic codes. An review into the history of humanitarian thought (ancient and German classical philosophy, journalism and art history of the XIX century, history and theory of art, art criticism of the XX – early XXI century) allowed us to identify the fundamental concepts of the category “artistic image”, among which – continuity of phenomena and elements of the subject-spatial environment at the level of archetypes, reflection of world perception and the universe in the form of encoded information, objectification of an artistic idea, mental and epochal predetermination of interpretation of the world model, interpretation of reality in the context of a socio-cultural situation, contextuality of existence. An artistic image (architectural image) contains metadata about a person and society, social beliefs and preferences, and values prevailing in a particular cultural and historical period. Through the metaphysical relationship with the archetype, the artistic image in architecture expresses the truth of judgments (messages) about the essence of objects, phenomena and situations in the surrounding world (real or virtual). An artistic image (architectural image) objectively reflects the picture of the world and is a synthetic category of art that represents in its content the unity of three interpretative aspects: as a phenomenon of the culture of a society of a certain era, in which cultural and historical meanings are embodied by means of symbolization; as a cultural and historical event, the essence of which is predetermined by the course of evolution, the demands and needs of society, the level of scientific and technical development of civilization, conceivable in the unity of the possible and actual; as a method, form and product of mastering and reflecting reality.

Auf Selbstorganisation und Fürsorge basierende Commons-Ansätze eröffnen auch der Kunst Chancen zur Veränderung und Transformation. Aber wie kann Gemeinschaffen - Commoning - in der Kunst gelingen? Das transdisziplinäre Autor*innenteam verbindet die aktuelle Commons-Forschung mit feministischen, queeren, postkolonialen und ökosozialen Perspektiven. Mit der Analyse von Kunst für Commons, Kunst als Commons und Kunst durch Commoning sowie entlang konkreter Projekte werden Thesen und Werkzeuge formuliert, die Orientierung und Inspiration für die eigene Praxis bieten können.