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This article examines Judd’s Specific Objects in light of Cézanne’s paintings and suggests that the two artists share a conception of the relation between objects and space. I argue that, much like Cézanne, Judd saw objects and space as related elements that constantly define each other. Cézanne and Judd are prominent figures who represent two distinct positions in the history of Western art. I consider these positions in relation to the topic of artistic autonomy and suggest that, even though theoreticians have framed Judd’s work in opposition to the modernist concept of the autonomous work of art—the American founding figure of Minimalism has something in common with the French ‘Father of Modern Art’. The proposed phenomenological analysis of works by Judd and Cézanne moves beyond period-based and medium-oriented interpretations and differs from much art-historical discourse, to suggest an additional perspective on their works. [ABSTRACT FROM AUTHOR]

This paper calls for a reassessment of early-stage Korean avant-garde and experimental art as the cornerstone of Korean media art. The aim is to discern a new genealogy of media art in Korea by tracing and linking the activities of early avant-garde artists and media art pioneers who have been neglected in the dominant art historiography, which has shown a preference for painting and video art. My detailed analysis of the experimental artists of the 1960s and 1970s, small groups in the mid-1980s, and the Art Tech Group in the early 1990s demonstrates how they revealed and articulated their spirit of resistance against academism and the mainstream using technology, thus following a different trajectory from that of the avant-garde and media art in Europe and North America. [ABSTRACT FROM AUTHOR]

In translation studies, intersemiotic translation, which is the transference of a verbal sign system to a non-verbal sign, vice-versa or between two non-verbal modes, is a dynamically creative form of translation often involving literary works. Intersemiotic translations make it possible for written source texts to be brought to life in various artistic ways; they can usurp the power of the written word to transfer sense and meaning through unforgettable images from one culture to another. Folktales, documented in writings, have been translated into many different forms, such as in performing arts, animations, paintings, and illustrated books. This article examines the intersemiotic translation of the evergreen Malay folktale, “Puteri Gunung Ledang” or “The Princess of Mount Ledang” recreated in the form of batik paintings by the batik artist, Mat Dollah. The first specific objective of this study is to identify the variant and invariant features in Mat Dollah’s representation of the folktale by comparing his batik paintings to its original written account. The second objective is to investigate Mat Dollah’s skopos or purpose for recreating the folktale in his batik paintings in the ways that he has represented it. Six selected batik paintings of the folktale are analysed using Kress and Van Leeuwen’s (2006) multimodality approaches in visual grammar focusing on social actor representations and viewer networks (2008), colour (2011) and modality to fulfil the first objective. Transcripts from an email interview with the painter are analysed to fulfil the second objective. In this study, Vermeer's Skopos Theory underpins the overall discussion. The findings show that one invariant core links the batik paintings to the written source text. Next, the skopos or purpose of the artist in producing these recreations in his own unique ways is strongly influenced by his personal experience, his work as an artist, and his perspectives of the world. Two key insights can be surmised about intersemiotic translations from these findings. Firstly, it is the translators’ intent that determines the translation strategies used, ultimately shaping the final translated product. Secondly, this makes the translator’s presence highly visible in intersemiotic translations. [ABSTRACT FROM AUTHOR]

The broad topic “Tarkovsky and painting” contains commonalities, such as the director’s citing of the paintings by Pieter Bruegel or Leonardo da Vinci, but there are also less explored aspects. The latter include A. Tarkovsky’s method of working with images based on the work principles of the old masters of painting; implicit references and allusions not just to individual paintings, often not yet described, but to the entire worlds of certain authors or movements; and a total commitment to quotation together with a skilful and deliberate disguise of the technique, also described by the director in theoretical works. Tarkovsky was an artist in the very first sense of the word — a student of an art school, author of film sketches and storyboards, paintings, and even art history works. However, the main thing regarding the topic “Tarkovsky and painting” is his application of the very vision of a painter in his own work. He worked with frame structures in complex ways, often appealing to the repetition of the recursion technique, like great artists did in their works. He used iconographic repetitions in plots, themes, individual images, details, and motifs of his works. He often implicitly alluded to reference pictorial sources in such a way that without the testimony of colleagues the reference is impossible to guess. He applied the entire philosophical concepts assigned to individual artists and artistic movements and was not afraid to mix eras, using the elements and techniques of his predecessors to create his own film painting, finely crafted but full of anachronisms.

C. R. Leslie's influential biography of John Constable highlighted that his friend's artistic strengths stemmed from his unprecedented geographical "confinement." The unpublished draft preface, however, compared Constable with a "voyage of discovery." Attending to Leslie's conflicting images of confinement and remoteness enriches our understanding of how Constable's rhetorical preoccupation with the local was a response to his place within expanding global artistic, social, and economic networks. His conception of the English landscape was constructed against a background of exploration, colonization, and international commercial expansion, the negotiation of these realities animating his paintings, prints, and public theorizing. [ABSTRACT FROM AUTHOR]

Lead white (basic lead carbonate), before its effective ban in much of Europe from 1989 onwards, was among the most versatile and widespread but also one of the most harmful pigments available. This paper is a critical discussion of the regulation of lead white paint and its consequences from the point of view of conservation and artistic practice in Europe. It looks at who benefited from exemptions to bans, and whether there was resistance to them. Buildings and artworks are both taken into account. The paper discusses nuances in regulation in four European countries which have notable differences in approach (France, Austria, Germany, and the United Kingdom). The centralised regulatory framework of the United Kingdom allows data analysis on the authorised use of the paint since its restriction up to the present day. This dataset shows a steady decrease in the use of the paint by conservators across disciplines. The paper concludes by considering the professional and ethical implications of lead white paint for artists and conservators, in the context of varied regulation and a decline in use. [ABSTRACT FROM AUTHOR]

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article studies the unpublished painted decorations of a set of concessions of nobility titles granted from the last twenty years of the reign of Charles II that are preserved in the Archivo Histórico de la Nobleza, and their relationship with other examples from various archives, institutions and collections. This makes it possible to offer a panoramic overview and to establish stylistic and typological analogies, differentiate models and identify workshops and even artists. [ABSTRACT FROM AUTHOR]

The purpose of the article is to examine the development of characteristics, perspectives, and tools that contribute to the formation, in the process of teaching student artists, of self-organisation, self-development, awareness, responsibility during the performance of work (creating an artistic work) and the ability to think creatively, define a problem, set a goal and find a non-trivial way of solving it and learning about oneself and one's capabilities. Solving this problem contributes to increasing the efficiency of training a young, in-demand, competitive and adaptively mobile artist, in the person of whom society will receive a specialist to solve tasks in the field of fine arts, art and culture that are relevant today. The research methodology is based on systemic and value approaches, with the use of general scientific and special methods determined by the artistic and creative paradigm, which made it possible to comprehensively consider the specified problem and obtain appropriate research results. The scientific novelty of the work lies in the understanding of the peculiarities of the formation of artistic and aesthetic competences among student artists in the process of studying in higher education institutions of Ukraine. The acute problem of the lack of scientifically substantiated content bases, methods, principles of formation of artistic and aesthetic competences among students - future artists, related to modern changes in professional art education in connection with the introduction of distance learning into practice, which leads to the modernisation of the very process of studying an artist student. Conclusions. Undoubtedly, this study should take into account modern transformational processes in professional art education in general, and, including, those related to the introduction of distance learning into practice, which will allow to more deeply reveal the essence of the professional training of specialists in the artistic profile and ensure their personally oriented general development. In our opinion, the success and effectiveness of the formation of artistic and aesthetic competences among student artists in the process of studying in institutions of higher education depends on the set of educational conditions under which training will be organized in a separate institution of higher education. It was determined that the following conditions are necessary to increase efficiency in solving the above-mentioned issue: an art-critical approach to the formation of artistic-aesthetic competence; optimal combination of forms, methods and means of educational and artistic activity in a higher education institution; development of a system of practical tasks. [ABSTRACT FROM AUTHOR]

Sarah Kate Wilsons's article 'Painting's liveness' is written from her vantage point, as an artist/curator/researcher/collaborator/educator. Here she reveals how painting's relationship with performance, particularly during the second part of the twentieth century, has led to painting's liveness. This, she asserts, is apparent in paintings by Daniel Buren, Robert Rauschenberg, Yoko Ono, works by the Gutai Art Association and performances by Ei Arakawa. The inauguration of a performance programme at Bauhaus in Germany, Black Mountain College in America and the formation of the Gutai Art Association in Japan are highlighted by Wilson as important milestones. Writing by RoseLee Goldberg and Peggy Phelan on performance, J. L. Austin's speech act theory as well as Satori, an expression from Zen Buddhism meaning enlightenment, are woven into this text. David Joselit's declaration that the medium of painting is live and 'On Air' is drawn into her argument for painting's liveness, whilst Catherine Wood's curatorial project A Bigger Splash: Painting After Performance (2012) Tate Modern, London and her own curatorial project Painting in Time (2015–16) set the stage for this text. [ABSTRACT FROM AUTHOR]

Science and art are often disconnected but, if combined, can help stimulate learning and novelty and guide societal change. How then to bridge the divide between scientists and artists in a way that extends beyond superficial, short-term interactions? We describe an ongoing coproduction practice between a Swedish sustainability scientist and two Chilean artists--a sculptor and painter--striving to find ways to work together. Our transdisciplinary collaboration was initiated in 2013 and, although there has never been an agenda or goal for our interaction, there has been a mutual interest to investigate joint possibilities. Through a series of meetings, we tried but failed to accomplish anything for several years. By 2022, we finally created something tangible together, realizing it was not just material objects we were producing but also a meeting between worlds. We describe how this long-term partnership, driven by mutual respect and curiosity, created conditions for bridging across our respective knowledge and practices. By working, walking, and exploring together, we learned how to communicate, overcome challenges of different languages, and combine perspectives. We have recognized similarities in how we engage with material from the natural world and how we combine elements for novelty. Through our interactions, we have started to identify how coproduced science and art can stimulate a reconnection with the biosphere, thereby providing a foundation for transformative societal change. [ABSTRACT FROM AUTHOR]

Copyright of Erciyes Akademi is the property of Erciyes Universitesi Sosyal Bilimler Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the work is to investigate the artistic and stylistic practices of V. Hegemyan, which he applied in the process of creative activity in the context of the history of art of Armenia and Ukraine. Emphasis is placed on clarifying biographical facts about the artist and teacher. The research methodology consists in the application of general scientific and special research methods, in particular, analysis, synthesis, induction and deduction, generalization and abstraction, semitic, descriptive, which collectively allowed to consider artistic practices in the work of the artist V. Hegamyan. The scientific novelty of the work lies in the fact that for the first time the facts of the artist's creative biography were introduced into scientific circulation, which made it possible to reveal the intercultural influences of the environment of Ukrainian and Armenian cultures on the formation of V. Hegamyan's creative style. Conclusions. V. Hegamyan's creativity and teaching are frankly synthetic in nature. Both of his activities are based on classical traditions, but as a result are qualitatively new artistic phenomena. Hegamyan's artistic style is a kind of symbiosis of masterful realism and modernist principles of symbolism, expressionism, fauvism, and constructivism embodied in monumental techniques. V. Hegamyan's genre work is widely represented: from studies of classics, landscapes, still lifes, wonderful realistic and conventional portraits to huge genre paintings. There are strong ethnic motifs in the artist's work: both Armenian and Ukrainian, while the artist nevertheless operates with general aesthetic categories, finding his own symbolic and figurative meaning. [ABSTRACT FROM AUTHOR]

This article aims to recover the work of American artist Donald Evans (1945–1977), who operated on the fringes of conceptual art. Evans created postage stamps for imaginary nations, which he collected in his Catalogue of the World. Evans's system of images, painstakingly drawn on paper and painted with watercolors, references the decolonizing world of the 1960s–70s. Through fictional countries like the "Oriental" state of Adjudani, or the former colonies of Katibo and Amis et Amants, the artist captured the volatile international scene of his day, torn by the violent forces of colonial heritage. Painting and cataloging went hand in hand in his project, which attempted—not always successfully—to arouse critical thinking about domination through images, the structuration of different worldviews, and the predatory dimension of cataloging. [ABSTRACT FROM AUTHOR]

Brazil received the largest number of Africans enslaved into the Americas: nearly five million by some estimates. Thus, Brazil became the world's largest slavocracy. But slavery was not the only experience available to Africans and Brazilians of African descent in slavery-era Brazil. Numerically, Afro-Brazilians dominated the arts in colonial Brazil. However, very few of those artists and artisans, many of whom were enslaved, are known by name today. Free Afro-Brazilian artists, such as Aleijadinho, Mestre Valentim, and Teófilo de Jesus, on the other hand, fared far better. In this article, I turn to these three mixed-race artists' works and what little is known of their lives, not only as exemplary Afro-Brazilian artists but also as some of the most important artists of Brazil's late colonial period, where they had the greatest impact on the artistic developments in their home regions. These artists' careers thus illustrate how artists of African descent contributed to and defined urban and sacred spaces in the early modern Atlantic. This is therefore an invitation to look at Afrodescendants' role in early modern art beyond the anonymity of slavery and static representation. [ABSTRACT FROM AUTHOR]

Copyright of Potestas: Estudios del Mundo Clásico e Historia del Arte is the property of Potestas Estudios del Mundo Clasico e Historia del Arte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anales de Historia del Arte is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ícone: Revista Brasileira de História da Arte is the property of Universidade Federnal do Rio Grande do Sul and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ícone: Revista Brasileira de História da Arte is the property of Universidade Federnal do Rio Grande do Sul and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article focuses on the question of periodisations in Japanese art history through a consideration of the long-running careers of four successful but politically and aesthetically diverse artists: Domon Ken (1909--------‒1990), Okamoto Tarō (1911‒1996), Yoshihara Jirō, and Katsura Yuki (1913‒1991). The arc of these artists careers across the prewar, war, and postwar periods upsets popular periodisations in Japan's art history that assert the postwar as a time of rupture and renewal. My focus is meant to challenge this 'postwar paradigm' while elucidating these artist's negotiation of ethics and plurality during drastically different political eras. How does a reading of their work reveal continuities before and after the war, and what are the political stakes of these continuities? [ABSTRACT FROM AUTHOR]

The article offers insight to translation and the creative process of translator Catherine Perrot. It mentions that Perrot makes a tepid initial step into watercolor manuals, a genre dominated by male artists at the time, and based her instructions on engravings by Nicolas Robert. It also mentions about her translations.

Ron Henry, an artist based in Grand Junction, CO, provided the cover art for the Fall 2022 edition of The Open Journal of Occupational Therapy (OJOT). “On the Trail to Durango” is a 36” x 36” painting made from oil and acrylic on gesso board. Ron has been creating beautiful art since he was a child. Art has provided Ron with a strong sense of purpose throughout his life. At age 90, Ron attributes his longevity to living a healthy lifestyle and regular engagement in purposeful occupations, such as painting. In this tenth anniversary issue of OJOT, Occupation and the Artist is profiling Ron to celebrate his nearly nine-decade-long career as an artist. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the article is to identify the features and patterns of Mykhailo Sapozhnykov artist's creative method and define the role of realistic artworks in symbolist painting of the artist. The research methodology consists in application of system-analytical, formal-stylistic, and semiotic-semantic methods and approaches, which enabled qualitative considering of the specified issues and drawing substantiated conclusions. The scientific novelty of the article is aimed to systematise the important principles of the author's creative method of Mykhailo Sapozhnykov, identifying the main principles of form creation in his symbolist paintings and elucidating the role of painting from the nature. Conclusions. The number of works analysed in the study demonstrated several principles on which the artist tried to build his personal system of form creation. According to the results of current scientific research, the author has been identified three conceptual variants of the transformation of painting material with realistic direction from the nature into a symbolist figurative construction. The importance of works with realistic direction have been proven. The presented auxiliary works, plein air sketches and sketches from the nature, clearly demonstrated that accumulated realistic painting material was the starting point that encouraged the creative imagination of Mykhailo Sapozhnykov. [ABSTRACT FROM AUTHOR]

1 Clouds and Light: Impressionism in Holland Museum Barberini, Potsdam 8 July-22 October Dutch Golden Age artists were pioneers of landscape painting, but their late 19th-century successors seemed more taken [...]

The article examines how the Geumgang Mountain located in the alpine Korean Peninsula has been reshaped in paintings and poems, particularly through the personification of peaks and rocks figuratively. It explores the lack of research and exhibitions of art and literary works on the Geumgang Mountain, a description of the Geumgang Mountain by bureaucratic scholar Chae Su, a song about the mountain composed by Confucian scholar Yi Yi, and the painting of Geumgang Mountain created by painter Jeong Seon.

It is increasingly acknowledged that creativity cannot be fully understood without considering the setting where it takes place. Building on this premise, we use the concepts of niche construction, scaffolding, coupling, and functional integration to expound on the environmentally situated nature of painters' studio work. Our analysis shows studios to be multi-resource niches that are customized by artists to support various capacities, states, and actions crucial to painting. When at work in these personalized spaces, painters do not need to rely solely on their "inner" powers of imagination, memory, decision making, and technique to execute their paintings. Instead, with the help of carefully selected resources, they can offload elements of creative mentation and action onto the studio niche and enact different forms of a creative agency. To put more flesh on these ideas, we examine how painters use (1) existing artworks, (2) memory aids, and (3) music to scaffold the creative process. Overall, our analysis illuminates underexamined aspects of environmentally situated creativity and demonstrates the broader utility of the applied concepts for future creativity research. [ABSTRACT FROM AUTHOR]

Front and back cover caption, volume 40 issue 3 DREAMING'S DIMINISHING DIMENSIONS The cover image, Desecrating the Rainbow Serpent by Jack Green, powerfully illustrates the profound cultural and spiritual disruption Indigenous communities face from the expansion of the McArthur River Mine in Australia's Northern Territory. The painting, divided into two sections, represents the past and the present. The left side, vibrant and lush, depicts a time when the Gudanji, Garrwa, Marra and Yanyuwa peoples had control over their land and lived on Country, with the Junggayi (traditional managers) and Minggirringi (owners) guarding the eye of the sacred Rainbow Serpent at the top of the painting. The dark and fragmented right side portrays the devastation caused by mining activities, highlighting the diversion of the McArthur River, which the artist describes as having 'cut the back of our ancestor – the Rainbow Serpent', 'pull[ing] people down' as 'the stress of seeing our land suffer means we suffer.' Richard J. Martin's article examines the broader implications of such cultural losses within the context of Australian legal and social frameworks. He discusses the complexities of compensating for cultural loss, as seen in landmark cases like Northern Territory v Griffiths and the destruction of Juukan Gorge, underscoring the challenges of quantifying spiritual and cultural damage in monetary terms and the broader impacts on Indigenous communities. The image and article together highlight the enduring effects of colonization and industrial exploitation on Indigenous cultures. They call for a more profound understanding and respect for Indigenous spirituality and the urgent need for legal frameworks that adequately address and compensate for these irreplaceable losses. This artwork serves as a reminder of the work ahead – acknowledging the immense cultural losses suffered, supporting Indigenous peoples in reclaiming and revitalizing their heritage, and finding ways to move forward that respect and honour Indigenous traditions. The painting's winding colours speak to the unbreakable bonds between identity, history and the land that must be nurtured and protected. Like Martin's article, this image is an invitation to open our minds, educate ourselves and take meaningful steps to help preserve and celebrate Indigenous cultural heritage now and into the future. SHADOWS OF DISCOMFORT This haunting illustration is a visual complement to Ståle Wig's thought‐provoking article, 'Pity the rich man', which explores the dynamics surrounding begging and work and the discomfort often felt by both givers and receivers in such encounters. The image depicts a dishevelled man, presumably experiencing homelessness, sitting amidst the detritus of his meagre possessions on a bustling city pavement. Passers‐by, rendered as ghostly silhouettes, navigate around him, their body language subtly conveying a mixture of discomfort, pity and a desire to maintain distance. This scene encapsulates the awkwardness and unease that Wig identifies as central to many begging encounters, where the act of giving can heighten awareness of social inequality and provoke feelings of guilt or embarrassment. Yet, as Wig astutely observes, those who beg are keenly attuned to these discomforts and often seek to alleviate them by reframing their solicitations as a form of work or exchange. The man's small cardboard sign and scattered belongings hint at this strategy, suggesting an attempt to present his predicament as a legitimate, if desperate, means of subsistence. By appearing to offer something in return for aid, even if only a token acknowledgement of the giver's generosity, he appeals to societal values that prioritize industriousness over perceived idleness. Ultimately, this image serves as a powerful reminder of the everyday struggles and adaptations of those living on the margins while also prompting readers to reflect on their own assumptions and unease when confronted with the visible face of poverty. In doing so, it encapsulates the central themes of Wig's analysis, inviting us to consider how both givers and receivers navigate the complexities of these fraught social interactions. [ABSTRACT FROM AUTHOR]

Paintings of music are a significant presence in modern art. They are cross-modal representations , aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn. [ABSTRACT FROM AUTHOR]

Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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The authors use convolutional neural networks (CNNs) to analyze authorship questions surrounding the works of Leonardo da Vinci—in particular, Salvator Mundi, the world's most expensive painting and among the most controversial. Trained on the works of an artist under study and visually comparable works of other artists, the authors' system can identify likely forgeries and shed light on attribution controversies. Leonardo's few extant paintings test the limits of the system and require corroborative techniques of testing and analysis. [ABSTRACT FROM AUTHOR]

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The article focuses on a small portrait of cardinal-archbishop Carlo Borromeo in Milan's Ambrosiana Gallery that has long been recognized for its veristic effect. Topics include considered that already in 1607, shortly after its creation, it was described in a will as the ‘most true effigy of him' and in addition to physical imperfections, such as Borromeo's saddled eyes or his signature beaklike nose, the artist's careful naturalism strives to convince of the painting's authenticity.

The article reports that juxtaposition of Bertin's self-confident gaze and relaxed body with Angelica vulnerable nakedness could be read as an exercise in iconographical incongruity, if not a moment of curatorial mischief. Topics include considered that whatever the explanation for the painting current display, it is hard not to regard this as a dramatic fall from grace for a work that had occupied the ‘place of honour' when first shown at the 1833 Salon.

The paper examines the establishment and development of folk style in the works of Ukrainian artist Tetiana Yablonska (1917-2005), namely in her mid-1950s-1960s paintings. Recent publications allowed to apply general-to-specific approach to the material: identifying socio-political and cultural transformations of the Thaw period in Ukraine and outlining the personal factors that contributed to Yablonska's fascination with folk art. Based on the material of the corpus of works, the changes of stylistic fabric are examined and the dominant tendencies of neo-folklorism evolution in Yablonska's artworks are revealed. Three-stage periodization of her creative biography is introduced into the broad scientific discourse: preparatory stage (study in the Kyiv Art Institute under Fedir Krychevsky's mentorship during 1935-1941), an academic and folklore stage of the late 1950s, and a folklore stage in the 1960s. The issue of co-relation of the artistic and emblematic language of neo-folk style in painting with other kinds of art, in particular, the search for corresponding stylistics in the Ukrainian cinema in order to refresh theoretical studies concerning tendencies of development of visual art of Ukraine of the period is covered. The main artistic principles of neo-folklorism are outlined, in particular, the sculptural generalization and two-dimensionality of the form, the locally unique color scheme, the concision of folk ornamental motifs. The research question is the folklore theme in paintings of Yablonska in mid-1950s-60s, the preconditions of its origins and evolution. The aim of the study is to identify the stock-in-trade of neo-folklorism in the artist's canvases based on the analysis of socio-political and cultural factors. The methodology of work is grounded in the complex use of art analysis techniques in the study of the body of artworks, and interdisciplinary principles of culturological analysis in the study of ideological and worldview principles of the period. For the first time, Yablonska's creations are considered in correlation with poetry (album Tetiana Yablonska. Ivan Drach. The Book that was Destroyed, 1969), common rhythmic and figurative features and philosophical and symbolic principles of creation are revealed. [ABSTRACT FROM AUTHOR]

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Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The National Union of Artists of Ukraine is a leading creative association of artists and art critics, whose achievements reach the state level. It is represented by the organizations, formed in the regional centers. In 2008, the Izmail Municipal Organization of National Union of Artists of Ukraine was registered as a non-profit creative organization, which unites artists and art critics of the Southern part of Odessa region (Budjak region or Southern Bessarabia). The organization includes prominent artists from the South of the Odessa region (Izmail, Kiliya, Artsyz). A considerable number of members of the organization are Bessarabian Bulgarians, among them: Petr Chakir (1931-2012); Ivan Shishman, Alla Gritsenko (Chakir), Larisa Chakir-Uzun, Pavlo Macedonsky, Galina Sapunzi, Mikhail Peykov and Alexander Kara. For today only three artists from Budjak have received a high rank of the Honored Artist of Ukraine, and all of them are ethnic Bulgarians: Petr Chakir (2009); Alexander Kara (2012); Ivan Shishman (2015).

The article examines that artist works across painting, sculpture and furniture design recently experimented with video and time-based installation as Peju Alatise has wed piercing social commentary with technical sophistication to create a prolific and diverse corpus of work. Topics include reports that A.N.A.I Alatise sought to create a space through which Nigeria artists might ponder what is native about contemporary Nigerian artistic practice; and considered that efforts to shift narratives and mindsets in recognition of the rights and power of women and girls has remained unwavering.