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Engaging along with music during lockdown is a kind of common behavior of human beings. This article mirrors the mass perception of music during the specific situation of lockdown in Nepal. The descriptive online survey design was used by taking 136 participants from Fine Arts Campus by purposive sampling technique. Frequency, percentage, and presentation of chars were major statistical techniques used in this research. The finding indicates that most of the participants were enjoying by listening and participating in musical activities during the pandemic. Whatever the purpose of listening, singing, dancing, composing, recording, playing the musical patterns, mass people knowingly-unknowingly connected with music during a lockdown. So, concluded that almost all respondents voted for the need for musical activities and varieties of music for managing their stress.

The 19th-century Italian art critic Giovanni Morelli contributed significantly to the theory and practice of attribution of paintings by prominent Renaissance masters. His methods, based on the profound knowledge of human anatomy and the analysis of artists’ professional skills, influenced not only the history of visual arts but also the development of forensic science, forensic medicine, the theory of psychoanalysis, and the practice of psychotherapy. The article provides the analysis of Giovanni Morelli’s scientific heritage for the identification and attribution of the works of fine art and for solving forensic tasks requiring the investigation of human skills and habits.Morelli’s methods and the capabilities of a comprehensive forensic study of artistic and cultural values with the involvement of the appropriate instrumental base and specialized knowledge in the field of art history, forensic traceology, and materials science, as well as digital technologies, can significantly increase the reliability of the results of attribution activities of museums, art scientists, experts of world auction houses and amateur collectors.

Art in the twentieth century was associated with all aspects of life between cultural, intellectual and social, with the end of the nineteenth century and the beginning of the twentieth century, which witnessed a great revolutionary transformation in science, industry and technology And Art Nouveau appeared, which is an art that combines fine arts and applied arts without mimicking nature, but translating it into expressive lines and spaces to enrich the decorative aspect in a realistic way. And The name of this style is due to the huge exhibition that was held in Paris in 1925 AD, which was called the International Exhibition of Modern Decorative and Industrial Arts. The Art Deco style came to respond to Art Nouveau designs and to avoid the overuse of flowing and organic lines overlapping, and then benefited from the values of geometric lines in ancient eastern civilizations. The Art Deco style is considered the last type of models with a distinctive value. and It is an important and very fruitful part in the history of applied arts. However in many aspects it is an extension of the Art Nouveau style, but its emphasis is more on Geometriy Values and achieving a balance between art and industry to produce designs that are compatible with quantitative production. Research problem : The problem of the study is represented in the following questions:- How to reach design solutions for the printing textile commentator by taking advantage of the integration of Organic And Geometriy Values with both the elements and decorations of Art Nouveau and Art Deco It carries distinctive aesthetic values? How to benefit from the combination of manual and modern methods in the design and application processes that increase the enrichment in the design It carries distinctive aesthetic values In Wall Hanging Textile Printing ? Significance : It is represented in the artistic study of two types of arts that enriched applied art from the end of the nineteenth century until the beginning of the twentieth century, and enriching the Arab library in arts with technical and analytical studies . Creating a hanging printed fabric derived from the organic and geometric values in both the decorations of the schools of modern art and art deco, to get rich carrying contemporary aesthetic values in the printed fabric. Objectives : The research Objectives to benefit from the technical analytical study of models of the decorations of the School of Art Nouveau and Art Deco and the possibility of combining them to create contemporary textile hanging that enrich the field of textile printing and to conduct experiments to integrate design and application manually, as well as modern methods in design and implementation. Methodology : Technical Analytical Approach: Through distinctive models from the works of the Art Nouveau School and Art Deco, as well as through the analytical study of the innovative designs of the two schools, as well as the innovative designs of mixing the elements of the two schools. Experimental approach: It is evident in the experiments of innovative designs derived from the motifs of the Art Nouveau and Art Deco Results : Technological development in the field of plastic art has helped to develop human thought and to increase the imagination of the creative designer in creating and inventing different and diverse designs. The researcher presented a set of innovative plastic solutions for each of the elements of Art Nouveau and Art Deco, and also presented Fine solutions to integrate each of their elements. The researcher also found the use of modern technology methods in processing shapes and units, as well as in creating designs that save time and effort and give an opportunity to study different solutions for design. Some computer applications were made use of on Art Nouveau and Art Deco as a design input to create printed textile pendants. It was applied to new art and decorative art to create a group of artistic works that achieve value and fine, aesthetic and contemporary arts. The researcher created a set of designs, two of them inspired by Art Nouveau motifs, two designs inspired by Art Deco motifs, and two designs inspired by merging each of them together and implementing them as contemporary typographical textile hangings and proposing the hypothetical employment of them.

Rio de Janeiro represents one of the largest creative economy centers in Brazil and underwent urban renewal in preparation for hosting global events. This research aims to investigate cultural cons...

Introduction. The article is the first in a series of publications dedicated to the 100th anniversary of the Mari autonomy and the fact of the emergence of professional visual arts among the Mari people. The author regards it as a systemic element of national-ethnic culture, which performed the function of ethno-cultural reflection by artistic means throughout the entire century, in which four major stages and corresponding stylistic forms can be traced. The article describes the initial stage of the Mari fine arts of the 1920s – 1930s. Materials and Methods. The main material was the collection of art and ethnographic works of the 1920s–1930 found in the funds of the National Museum of the Republic of Mari El. The author used various methods: historical research, art history analysis of works of art, as well as the author’s own method of structural and archetypal analysis. Results and Discussion. The first art institutions appeared in the mountainous Mari region at the turn of the 1910–1920 thanks to the artist A.V. Grigoriev, who together with his associates later founded the Association of Artists of Revolutionary Russia in Moscow. The systematic institutionalization of the Mari fine arts began in the second half of the 1920, which was facilitated by the activities of the Mari Regional Society of Local History and the Central Mari Museum in the town of Krasnokokshaisk. The founders of the Mari fine arts were the invited artists from Kazan, namely P. A. Radimov, G. A. Medvedev, V. K. Timofeev, M. M. Vasilyeva, the first Mari artists K. F. Egorov and E. D. Atlashkina, and P. G. Gorbuntsov. With the beginning of the “Great Terror” period, the first stage of the Mari art was interrupted, and socialist realism replaced ethnographic realism. Conclusion. The development of the fine art of the Mari at the initial stage was stimulated by the Mari Regional Society of Local History and the Central Mari Museum represented by V. A. Mukhin (Savi), V. M. Vasiliev, T. E. Evseev. Their educational interests, combined with the documentary-oriented program of the Association of Artists of Revolutionary Russia, contributed to the formation of such a stylistic form as ethnographic realism, which became the first artistic form of ethnocultural reflection by the means of fine arts.

Hashem Khan is considered as one of the key figures in Bangladesh art scenario. Born in Chandpur, Hashem Khan was graduated from the Faculty of Fine Art, Dhaka University in 1961. He was a Professor at the Faculty of Fine Art, University of Dhaka with 44-year experience and retired in the year 2007. He has achieved Ekushey Padak and Independence Day Award (The highest civilian award in Bangladesh) for his significant contributions in art and culture. Rural lifestyle is very unique in Bangladesh. Many poets, musicians, visual artists have taken inspiration from rural culture and life style of Bangladesh. His works reproduce the natural beauty of the village, rural life, and plenty of other things. He has used traditional folk colours like yellow, orange and green in his paintings and used folk motifs. Hashem Khan has done semi-realistic style of narration to communicate to the common people and also used vibrant colours in his paintings. The researcher here has selected the works of the artist for discussion and analysis from the exhibitions which were held from 1980 to 2018 in different art galleries in Dhaka, the capital of Bangladesh and also from two catalogues, which articulate 143 plates. The researcher has analysed his contents of the paintings. Besides the researcher also closely analysed the colours, composition and forms of the painting. Keywords Painting, rural life, Bangladesh, Hashem Khan, art

In the beginning of modern Neurology, between the 19th and the 20th centuries, neurologists often assumed simultaneous positions of intellectual prominence and gained significant cultural credentials. Not only observers and admirers of music, literature, and the fine arts, many neurologists and neuroscientists worldwide developed significant cultural careers. When studying the careers and lives of the founders of Brazilian Neurology, one finds only sparse information on their cultural activities, which are often relegated to side notes. Therefore, the author aims to focus on the literary output of some of the most important early Brazilian neurologists, who excelled in poetry or longer written forms and were eventually immortalized by the Academia Brasileira de Letras: Antônio Austregésilo, Aloysio de Castro, Deolindo Couto, and Miguel Couto, contextualizing their artistic production in their respective academic lives.

The artistic deformation in children’s art is done unconsciously. It is observed in the change in the shape, proportion and color of an object or object. This is due to the exceptional desire of the child to convey greater expressiveness of his drawing, emphasizing the most important image for him. The deformation characteristic of this age period conveys a uniqueness and uniqueness of the children’s drawing. The use of specific methods of fine arts contributes to the stimulation of creative imagination and the manifestation of individual inclination to different ways of deformation. Stimulation of creative thinking increases the expressiveness of children’s fine arts. appearances.

The problem of organizing expert activities in the field of forensic art examination of fine arts at a practical level is considered. The conditions of objectivity (reliability) of the results of a forensic art examination of fine art in law enforcement practiceare identified. In this regard, the problem of the reliability of the examination results is considered at the interdisciplinary level: substantive law – criminal and customs; criminal procedure law, as well as forensic science and expert activities. The necessity of creating, within the framework of the anti-corruption policy of the state, an independent institute of forensic art criticism of fine arts is substantiated. It is proposed: 1) to create an information base under the Ministry of Justice of the Russian Federation on the data of art historians known in different fields of fine art who can act as competent persons in legal proceedings; 2) to create a mechanism for the appointment of a commission of forensic-forensic art examination of objects of fine art examination on the basis of automatic random selection of subjects of examination. It is proved that this measure excludes the possibility of giving an unreliable conclusion as part of a forensic art examination of objects of fine art.

Folk motifs are inscriptions expressing fine art, this art carries many elements of culture, originality, and creativity that characterize societies, expressing artistic, aesthetic values, environmental and social connotations, highlighting the extent of the society's culture and sophistication. The Sultanate of Oman is rich in traditional costumes rich in folk motifs executed with the technique of hand embroidery, which is one of the main features of traditional Omani costumes. The current study aims to highlight the usage of hand embroidery in decorating men's and women's costumes in the Sultanate of Oman, to deducted the general features of these decorations, and then reformulate the embroidery motifs in a contemporary form, that contemporary vision is realized through the implementation of a collection of contemporary fashion designs and Artistic paintings, where the reformulation is done in an innovative style without prejudicing to the aesthetics and originality of the embroidery motifs belong to Omani folk art. The contemporary method in a formulation that has been experimented by the current study applications is the merging of embroidery art with contemporary painting on the fabric, the results represented in creating a collection of contemporary artworks and fashion, where the embroidery and painting interfered together. The study follows the descriptive approach with the application of the applied method

The purpose of this article is to reveal the creative biography of Vasily Vasilyevich Perepletchikov as an landscape lyricist. The article analyzes the difficult creative path of the artist, who was generously gifted in various fields of fine art (engaged in painting and graphics), literature (wrote prose and poetry), had a sharp mind, observation, desire for various achievements in artistic life (organized exhibitions, participated in the creation of new associations). In addition, he was a keen traveler, which is reflected in all his work, one of the main themes in which was the North. Landscape drawings, paintings and sketches of different periods of the artist's work are consistently analyzed, characteristic features are noted. The historical and biographical method was used as the main one in this study.Целью данной статьи является раскрытие творческой биографии Василия Васильевича Переплётчикова как пейзажиста-лирика. Рассмотрен творческий путь художника, одаренного в различных областях изобразительного искусства (живопись, графика), литературы (проза, стихи), обладавшего острым умом, наблюдательностью, желанием разнообразных свершений в художественной жизни (организовывал выставки, участвовал в создании новых объединений). Кроме того, В.В. Переплётчиков был увлеченным путешественником, что нашло отражение во всем его творчестве, одной из главных тем в котором был Север. Последовательно проанализированы пейзажные рисунки, картины и этюды разных периодов творчества художника, отмечены характерные черты. В качестве основного в данном исследовании использован историко-биографический метод.

This article deals with the development of artistic and imaginative thinking, imagination and the creation of an artistic image in fine arts lessons using a graphic image. An example of a lesson for elementary school students on creating a mysterious tree image is given, which will help the teacher develop the ability of his students to see and creatively realize their ideas.

Every person has many qualities that help him/her to obtain more or less good results in different fields of activity. Some easily get good results in drawing or gymnastics, others easily learn math or languages. Generally, when a child achieves high performance in a field he/she is said to have skills. Knowing the skills specific to the field, identifying them in the process of guiding the child, their development and refinement are evolutionary aspects to be neglected in educational practice.

The article describes how visual activity contributes to the development of abstract thinking and specific, sensory experiences in schoolchildren, and in the process of the image, the child selects from the integral visual image proportions, color, silhouette, line as general and constant characteristics of the reality visually perceived by it.

The article explains the problems of the current era of globalization, the importance of developing creative qualities in students through the fine arts within the innovative cluster of pedagogical education, the formation of a spiritual worldview in the "teacher-student" system. At the same time, it deals with the issues of cultivating the spiritual worldview of students, which is an integral component of ensuring continuity and continuity in education.

In 1919, Afghanistan embarked on a series of reforms that led to the presence of Afghan students at various European universities, facilitating the circulation of peoples, ideas, and goods. Focusing on one of these cases, this article examines how an Afghan student engaged critically with ‘Western’ art and translated artistic ideas and technologies through the grid of Afghanistan's own history of the fine arts. Through an exploration of the work of Abdul Ghafur Brechna (1907–1974)—artist, music composer, poet, and writer—I argue that, despite his desire to train at German technical schools, Brechna translated, then connected, his Western training to restore Afghanistan's traditional visual and literary arts, making it problematic to define his oeuvre as purely ‘modern’ or ‘traditional’. The first aim is to situate Brechna within the intellectual milieu of Weimar Germany, placing emphasis on how he curated the course of his education to support his aims. By tracing out the evolution of his artistic knowledge to Afghanistan, the second part of this article connects his earlier training to the newly emerging scholars in Kabul who also grappled with national renewal and an ‘Aryan’ literary and cultural heritage. Lastly, I discuss his attempt to rewrite the history of the arts by closely analysing his visual and literary work, emphasizing in particular his attempt to reconnect to themes and genres that had previously been lost or neglected.

The French chemist Louis Pasteur (1822–1895) chose to be actively engaged in the fine arts throughout his life—yet scholarship has ignored or dismissed these pursuits. This empirical study documents his unknown, but deep involvement with art and artists from age thirteen until his death. This was no casual pastime. Art animated Pasteur. It was also at times useful to him for making political statements, cultivating status, and supporting loyal friends. This account identifies nearly twenty significant friendships with painters and sculptors and uncovers over thirty other artists with whom his associations deserve examination. The narrative suggests points at which art was especially germane to his scientific career and possible junctures that merit further research. Evidence from his artistic friendships also corrects the common picture of Pasteur as a dour workaholic who never laughed or smiled.

ARTHouse, Homewood, PA. Image courtesy of the artist and Pavel Zoubok Fine Art, New York.Editorials, like art teaching, are written in anticipation of what is yet to come. As described in my earlie...

The peculiarity of the training of future teachers of fine arts in the article is the formation of professional skills in working in the field of fine, decorative and applied arts in educational institutions and teaching fine arts. Because the quality of performance is important, if the evaluation of creative work and the criteria for it are clear, then the formation and evaluation of pedagogical competence is also a topical issue for the teacher of fine arts.

At the Museum of Science and Industry, Chicago, an annual art exhibition with no ties to science content provides an opportunity to explore how juxtaposing an art gallery experience within a scienc...

The Central Academy of Fine Arts is the only higher education institution of fine arts under the jurisdiction of the Ministry of Education of the People's Republic of China. The history of the National Art School in Beiping dates back to the establishment of the National School of Fine Arts in Beijing in 1918, which was supported by the prominent pedagogue of art and its first director Cai Yuanpei. It was the first national school in the history of China, laid the foundation for the modern Chinese education in the field of fine arts. This article is dedicated to the analysis of the key events of more than a century-long history of the school, which allows tracings the evolution of the Chinese art education, and gives a better perspective on the role of modern China in the art world. The novelty of this work lies consists in description of the process of establishment of art education in China in the XX century, classification of the national traits of this period on the example of the Central Academy of Fine Arts in Beijing, as well as analysis of the Soviet impact upon the Chinese education in the field of art history. The international cooperation with the Russian School of Painting, namely I. E. Repin Academy of Fine Arts had a beneficial impact. The study of Chinese students in the USSR allowed the following generations to implement such valuable experience. The ancient techniques and plotline received a new life in the works of modern artists, which are justifiably regarded as the achievement and progress in the national culture.

The object of this scientific research is art criticism in art magazines, the subject is the text of art criticism as a tool for solving problems of the relationship between a work of art and the viewer. The aim is to study journal art criticism as a tool for solving problems of the relationship between a work of art and the viewer. The analysis of the concepts of "art criticism" and "critical texts about art" is given in order to understand the essential features of art criticism and the specifics of its texts. The conceptual basis for the study was the key provisions of the theory of reflection by G.V.F. Hegel, the basic principles of the synthetic theory of the ideal D.V. Pivovarov and the concept of ideal formation, the main provisions of the theory of fine art by V.I. Zhukovsky and N.P. Koptseva.

Folk arts represent the heritage that is transmitted with humans from one environment to another and from one community to another and is passed down from generation to generation over time. Therefore, folk arts are related to the life of man in the society in which he lives because it is the civilized expression of society, and the most important aspect of cultural production. The Egyptian popularis is an urgent necessity, especially in light of our presence in the heart of an ancient heritage that pulsates with everything great as the greatness of history.Therefore, this research seeks to try to benefit from two rich sources of our ancient Egyptian heritage, the first of which is Oya art, which is considered one of the traditional handicrafts that almost disappeared due to the small number of workers and the aging of them, despite that this art is characterized by simplicity, innateness and dependence on its surrounding environment preserving this popular heritage and reformulating it, to keep pace with contemporary reality, is the best way to confirm our identity.The second of them is the art of embroidery with canvas, which represents one of the ancient fine arts of history, which is characterized by ease of learning, implementation and beauty in form and production, and the problem of this research is the attempt to revive these Egyptian traditional arts and preserve them from extinction, And try to benefit from them in creating a group of contemporary decorative designs to enrich the dining room furniture, and implementing these designs with innovative technical formulations that are compatible with the aesthetic and functional purpose of the dining room furniture, are distinguished by originality and contemporary and have great aesthetic value and low economic value, in addition to trying to benefit from them in offering a model for small projects for young people.The research followed the descriptive and analytical approach as a research method through the inventory and grouping of the distinctive decorative units of Oya art that Damietta women are famous for implementing, as well as the distinctive decorative units for the clothes of the Bedouins residing in Damietta governorate executed with canvas stitching, in addition to the experimental method of creating a set of decorative designs that combines the art of oya and the art of canvas, and its implementation on the dining room furnishings (dining tablecloth).It was possible to benefit from the merging of oya art and canvas art in preparing a group of (15) designs bearing the popular Egyptian character, and implementing (5) designs, including various forms of dining linen.

Women are the mainstays of our general public; the pioneers of customary painting workmanship rehearse in rustic India. Warli art, Gond craftsmanship, and Madhubani canvases are instances of their fine arts. this undertaking shows the abilities and endeavors of the tribal women which has a place with Jharkhand the place where there is minerals. The women of Ganju and Kurmi villages that, adorn their mud houses during these events with visual lines and themes. the ladies’ specialists to explore these paintings. The Indian people expressions with painting assume significant part in making new plans. This undertaking intends to safeguard the creativity of the artistic expression.

The work of writing discusses the history of Uzbek fine arts. It analyzes the different period works of art by Uzbek and Russian artists who lived in Uzbekistan. Fine art is one of the arts that quickly affects the human mind, arouses good feelings and enriches the spiritual world.At the same time, the visual arts are educators who contribute to the formation and development of the individual.

We study prices paid at auction for artworks created by male and female artists, based on birth-identified sex, and how these prices have evolved over time. Artworks produced by female artists comprise less than 4% of art auction sales; after controlling for artwork characteristics, we find that artworks by female artists are 4.4% more expensive than artworks by male artists. In the top echelon of the art market—for sales above $1 million—artworks by male artists sell for 18.4% more than by female artists. The top 40 artists represent 40% of total market share; no female artist makes the top 40 ranking of artists in terms of total sales value at auction in the period under study, 2000–2017. However, for contemporary artists, our empirical results show that works by male artists sell for 8.3% more than their female counterparts. Overall, this study highlights significant price differences across birth-identified sex in the secondary market for fine art.

The article considers the emergence and development features of the symbolic and emblematic system of children’s portraits in the 18th century. Children’s portraits, as well as the history of childhood in general, attract more and more attention of Russian and Western researchers; the largest museums of the country and the world devote their exhibition projects to this subject. This paper shows, for the first time, how symbols have been “reinterpreted” in accordance with the changes in the attitude of Russian society to the nature of childhood and in the artistic environment at that time, the “formulas” of its presentation in art. The article considers in detail the specifics of using a number of attributes by Russian artists in the context of children’s portrait images: books, floral symbols, animals and birds, toys and other items. As examples, there are considered the works of “capital” and “provincial” artists of the 18th century: I.Ya. Vishnyakov, F.S. Rokotov, D.G. Levitsky, V.L. Borovikovsky, as well as a number of authors whose names remain unknown. Special attention is paid to the issue of borrowing symbols, signs and metaphors from Western European art, their adaptation and transformation in Russian painting, taking into account national ideas about children and their subject environment. The article concludes that the children’s portrait symbolic sphere went through a difficult path during the 18th century, from a tool for personifying the male or female adulthood of a young model to creating the image of a child as a romantic symbol of the world of childhood, an elusive ideal.

The article focuses on the application of movement in realistic art, which is one of the key aspects that students should pay attention to in the process of teaching them to describe people. Also, mastering the technique of depiction through the use of theoretical laws of fine arts in the development of creative abilities of students in the learning process, students can apply fine arts techniques in the process of forming the ability to see and depict the human image spatially, focusing on issues of knowledge and practical skills.

The authors investigate the legal regulation of copyright protection in all possible arts: architecture, sculpture, graphics, design,painting, etc. The authors focus on the emergence of copyright in works in new art genres in the digital age, in particular: 3-D digitalmodels; engraving; engraving; pop-up publications and others. Peculiarities of free use of works and creation of derivative works indifferent kinds of art are determined.Each art form needs its own approach to regulating the author’s rights to the work. Architectural objects include both constructionprojects and drawings, as well as the buildings themselves, garden and park formations.The architectural design and the building are protected separately from each other. Therefore, there is no possibility to protect thearchitect’s rights to permit or prohibit the implementation of the project in the building and preserve the copyright to the architecturalpart of the building value, because in this case the idea (construction project) and building – various forms of works’ expression. However,construction projects are not subject to patent law, can not be patented as an invention, utility model, and do not belong to indust -rial designs. The building as a whole is not the subject of copyright, as copyright protects only the shape of the building, not engineeringsolutions, which in themselves, separately from the building, can be patented as inventions or utility models.Plagiarism of sculptures, especially sculptures of famous people and characters, is difficult to prove. In addition, there is the questionof the need to obtain permission from living famous people to create such sculptures for their commercial use. There is a questionof recognizing or not recognizing the 3-D sculpture as the original object of copyright.Works of fine art can be divided into: architecture, painting, graphics, sculpture, decorative and applied arts, photography anddesign. Works created with the help of a print as a unique type of graphic technique are considered original, as well as film photographs,when each developed photo will be original. Each copy of a book created using the pop-up technique is also considered original.The plots of films are difficult to defend in the context of copyright, because, in fact, they are a concept or idea that is easy tochange. The legislation does not clearly define that such a modification will be considered a derivative of the original work. The legislationdoes not contain clear criteria for defining plagiarism in works of art. Also, the legislation does not regulate co-authorship withmore or less complicity.

The article discusses the issue of the need to form the creative individuality of the future teacher of fine arts. Particular attention is paid to the problem of improving and developing professional skills of the teacher. It is emphasized that the issue of creative individuality formation of the teacher of fine arts is currently acquiring great importance, since it affects the level of aesthetic culture and creative development of his students.

Taking into account the intriguing fact that Kant in his Critique of Judgment, when the category of sublime in arts is concerned, mentions the examples of the sublime in art just in the field of fine arts, specifically - architecture, and only in the context of mathematically sublime, author organizes research in this text in two directions, i.e. raises two important questions: 1 ) What are the possible philosophical reasons why Kant does so and 2) Is it, if at all, and by what means, possible to discuss dynamically sublime in the fine arts.

The article describes the activities of Alexander Nikolaevich Glagolev, a Crimean artist who was the most prominent figure in the ideological field of the fine arts of the Crimean ASSR. Working first as an artist, and then as head of the illustration department of the newspaper «Red Crimea», he made every possible effort to implement state policy in all spheres of artistic life in Crimea. Since 1929, he has been developing an unprecedented activity for Crimea, hoping to «wrest artists from the state of dead apoliticality and switch them to serving the interests of the revolutionary proletariat», while educating a generation of young, ideologically literate artists. As the main platform for the implementation of his plans, A. N. Glagolev uses the newspaper «Red Crimea», on the pages of which not only his illustrations and cartoons appear, but also fairly large articles urging artists and photographers to be closer to socialist construction. His merits include the organization of an art exhibition dedicated to the 10th anniversary of the Sovietization of Crimea, the First All-Crimean Exhibition of Amateur Art, as well as an exhibition of professional and amateur artists in the Moscow State Museum of Oriental Cultures «Art of the Soviet Crimea». A. N. Glagolev was the founder and chairman of the Crimean Society of Revolutionary Artists «Izofront». He tried to provide support to representatives of amateur and national art.

This researcher has been working on the “Graphic arts and chemistry graphics” for the students, who reflected on the idea of plenerering in painting of Uzbekistan, about the works of artists and their ability to shape their rankings. Methodological techniques are used to apply the methods of the Mustalah, which deals with organizational issues, knowledge, tension, and skills of drawing art lessons. Students from the higher educational institutions, vocational colleges, and art teachers can use this academic discourse.