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This paper examines the relationships that emerge in the process of meaning-making in the anthology Writers on artists (Minton, 2001) between photographic portraits of the artists and other images and verbal textual components. The findings demonstrate that as indexes, the photographs of the artists testify to the artists’ real existence; as icons, these photographs contribute to the representation of the artists’ uniqueness. Through these two roles, the artists’ photographic portraits ensure the status of the ekphrasis in the essays as “actual ekphrasis” (in Hollander’s terms). In interaction with the biographical notes, the photographs of the artists highlight their uniqueness. As elements in the multimodal complexes “artist’s photo & artist’s bio”, the artists’ photographs enter into the relationships of similarity and contrast with the writers’ photographs in the multimodal complexes “writer’s photo & writer’s bio”, which are instrumental in creating symbolic dialogic space for the discussion of the works of the visual arts in the essays. Those photographs that are photographs of the artists’ painted or drawn portraits rather than people themselves establish strong semantic links with descriptive ekphrasis. Some of the objects captured in the artists’ photographs can contribute to descriptive ekphrasis. Those photographic portraits that offer psychological characterization of the artists work in synchrony with interpretative ekphrasis. The photographs that can symbolically evoke schemata of knowledge which have high relevance for ekphrastic interpretations and metaekphrastic discussions strongly support meanings generated in the essays. The photographs that are likely to be interpreted symbolically contribute most significantly to the meaning-making in the essays.

Paola Mattioli's work in fashion photography is characterized by keywords such as "portrait," "canon," and "representation of women." Through collaborations with prominent magazines like "Amica" and the feminist publication "Grattacielo: Women's Eyes on the World," Mattioli establishes herself as a key figure in feminist photographic practices. Transitioning from socio-cultural reflections of the late '60s, she began publishing fashion spreads in Italian magazines in the '80s, continuing into the 2000s, culminating in collaborations with Christian Dior. Mattioli's fashion photography during the 1981-1991 period encompasses two types of projects: collaborations with magazines and direct partnerships with brands like Enrica Massei and Nanni Strada. She delineates two approaches to her fashion photography: one focused on portraiture and the other on scene creation, both aimed at redefining cultural models, particularly those of femininity. A critical exploration of fashion photography requires moving beyond viewing fashion as mere clothing, as it embodies attitudes, linguistic forms, and lifestyle choices. Fashion serves as an identity vehicle, contributing to identity formation, as discussed by Lars Svendsen and Roland Barthes. Mattioli engages in sociological and aesthetic perspectives, particularly addressing the concept of identity in relation to subjectivity. Operating in a predominantly male-dominated context in fashion photography, Mattioli challenges the male gaze and redefines female representation through her lens. Her work intersects with feminist discourse, in line with Eugenia Paulicelli's view that fashion provides a vital space for identity construction and resistance against stereotypical images. She consciously subverts traditional fashion poses, offering new perspectives rooted in feminist concepts.

This investigation examines the photographic research on female portraits by Laura Grisi (Rhodes 1939 - Rome 2017) during her travels in Africa, Oceania and South America, during which the artist developed her own visual reflection on the theme of the woman "foreigner" to Western canons in a rich documentation collected in various editorial projects, which, starting from the beginning of the 1960s, arrive at a retrospective synthesis in the study-interview edited by Germano Celant and published in Laura Grisi: A Selection of Works With Notes by the Artist (Rizzoli, 1990). The essay starts from the portraits published in the 1964 volume I denti del tigre (Lerici Editori), in which Laura Grisi portrays Polynesian women in both literary and visual form, constructing a narrative that initiates a reflection on the iconography of the non-European woman, read by her lens as an alternative to the established canons of patriarchal visual culture. The study then compares her portraits with those of her husband Folco Quilici, brought together the following year for Leonardo da Vinci in the latter's monumental work I mille fuochi dal Sahara al Congo. The book alternates the couple's shots of the customs and uses of the peoples of north-equatorial Africa, that place women among their privileged subjects, and offers a unique case study in which female identity, investigated in a context of cultural “otherness”, is recounted and constructed by the language of photography in a fruitful "mirror" formula from which the dialectic between the female and male gaze emerges.

Copyright of Etudes Romanes de Brno is the property of Masaryk University, Faculty of Arts 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 article is dedicated to the life and work of Sergey Ivanovich Petrov (1918-2006) - a Russian-born Bulgarian painter active in the second half of the 20th and the beginning of the 21st century. The subject of the article are the major periods of the painter's life that influenced his formation as an artist and his pieces of art. Analysis is done on his predominant genres and techniques. This is a way to pay homage to the extraordinary life and outstanding artistic work of a remarkable painter whose name is among the best in Bulgarian painting of the period. [ABSTRACT FROM AUTHOR]

Purpose: The purpose of this study is to show that the neo-documentary – or complimentary – approach in Library and Information Science by no means is conservative, but highly necessary also in today's digitized media landscape. An example from a digitized photo archive is chosen to demonstrate the importance of a complimentary analysis that considers both material aspects as well as social and mental ones. Design/methodology/approach: By taking Jenna Hartel's description of the neo-documentary turn as point of departure, the paper focuses on one case, the portrait of Johannes Abrahamsen Motka taken by Sophus Tromholt in 1883 and discusses different versions of the photograph from glass plate negatives to digitized versions in different contexts and media. Findings: Many of the same paratextual elements can be found in different versions, also the digitized ones, to help the viewer to establish a historical context, but the images exhibited today are nevertheless no longer the same ones taken by Tromholt at the end of the 19th century. Not only have the material properties changed, but also – and probably even more important in most cases – the social and mental aspects. More re-contextualization is needed for today's audiences to recognize and understand a historical photograph taken in a colonial context. Focusing on document's material elements is not novel within the LIS-field, but the so-called neo-documentary turn was also a reaction on political and technological developments during the 1980s and 1990s. The increased focus on understanding a document in a complimentary way has demonstrated its impact during the last decades and is, at the same time, still work in progress. Research limitations/implications: As a scholar in the humanities the author can only relate to and therefore analyze what the author can experience and observe on screen level. Originality/value: In providing a case study, this article illustrates the necessity of employing a complimentary approach when analyzing documents. This also implicates the claim that the neo-documentary turn – or complimentary as it rather should be called – by no means is a conservative one, but a highly necessary one in today's digitized media landscape. [ABSTRACT FROM AUTHOR]

A private collection in Cordoba contains a previously unpublished bronze head. It is not a Roman original. Its iconographic incongruences and its intentional fractures suggest a malicious intention in its manufacture. It is possibly a fake that someone intended to introduce in the art market. A second bronze portrait of the same personage belongs to a private collection in Murcia. It has similarly never been made known. It is also a modern sculpture, confirming the non-ancient origin of the bronze in Cordoba. The joint study of the two objects can serve as a methodological example of the procedure to detect modern fakes of bronze portraits with an antique appearance.

The article highlights the connection between inner and outer world, between portrait, as a classical artistic genre in painting, and particular psychological aspects which exerts influence upon painting style, technique, methodological procedure and last but not least upon the concept that articulates in a coherent manner the narrative thread of an artwork. There are presented a few examples of distorted portraits belonging to important international but also Romanian artists whose interest is focused on exploring the idea of (lack of) identity in nowadays society. The development of psychology as an independent discipline in the 20th century was a real treasure as it started helping humankind, including artists, to deepen particular psychological aspects and connect them to their daily artistic practice.

Статья посвящена изучению творческого наследия сибирского художника Григория Густавовича Ликмана (1904–1991). Мастер создавал произведения в жанре политической карикатуры, писал пейзажи, портреты, сюжетно-тематические полотна, занимался книжной иллюстрацией и иллюстрациями для сибирской периодической печати, резьбой по дереву, работал над декорациями к спектаклям. Основным объектом исследования стали графические портреты Г.Г. Ликмана 1920-х годов из частного собрания Андрея Владимировича Ковалёва. В статье кратко рассмотрены этапы жизни и творческого пути художника, дана общая характеристика его творческой личности, проанализированы графические портреты, созданные в 1920-х годах, когда Г.Г. Ликман трудился в газете «Степная правда» в Славгороде. Для решения поставленных задач автором применены историко-биографический и формально-стилистический методы, элементы иконологического анализа. Помимо высочайшего художественного уровня работ, творчество Григория Ликмана интересно тем, что целиком охватывает советский период, поэтапно затрагивая множество характерных для эпохи стилей. Исследование дополняет представления о творчестве художника и вводит в научный оборот ранее нигде не представленные его графические произведения указанного периода.

Gender gets socially constructed in many visual ways, but people who are blind or who have low-vision want to know the gender of those around them, too, as well as other salient positionality details. Like with age, race, fashion, etc., a person's appearance can provide a lot of information about them and their character. Audio description, as a form of audiovisual translation, is a way to make that appearance accessible to those who cannot see it. Yet empirical research about audio description of gender - a complicated and highly contested arena of public discourse - is underdeveloped. This study addresses that issue through a Grounded Theory approach, constructivist in nature, that both generated self-descriptions of portrait images and piloted a model way to analyze them. This process prompted 179 new selfdescriptions written during three hackathon-like events over multiple years, illuminating compositional gender-construction strategies as well as fertile paths for audio description research. [ABSTRACT FROM AUTHOR]

This article studies the phenomenon of the publication of biographies in Spain through publishing houses and the press between 1920 and 1930. To do this, it uses a methodology that combines the history of publishers' catalogs, the analysis of journalistic genres, and the study of the relationship with artistic disciplines such as painting or photography. The main contribution is in approaching the emergence of the biographical in its various manifestations, with a vision of biography that links it with biographical genres in the press and with the tradition of Spanish portraiture. The originality resides in identifying the relationships that the biography genre weaves with its discursive context. Specifically, with journalistic writing, with other portrait genres, as well as with the introduction of photography in graphic magazines and with the pictorial portrait of that time. The results reveal how the new biography was introduced into Spanish culture. It also shows how the journalism of the time adapted the biographical contents and how a transversal relationship was generated with the portraitists of the Generation of '27.

This article analyses an engraving of Philip II of Spain published in Rome in 1588 by Marcello Clodio. The portrait is based on Sofonisba Anguissola’s famous painting of the king by way of Alonso Sánchez Coello’s copy in Florence. The Roman engraving offers a rare example of a Spanish painting copied in Italian print. A historiated frame surrounding the portrait, comprised of emblems from Achille Bocchi’s Symbolicae Quaestiones (Bologna, 1555), represents the most significant reuse of Bocchi’s emblems by a contemporary artist. The unusual frame is interpreted as a tactful representation of the polarising Spanish monarch.

With the development of Internet technology, online learning is becoming more and more popular. However, college students have different online learning behaviors and attitudes toward artificial intelligence (AI) learning tools. In this paper, a portrait model is proposed for college students, which focuses on their online learning behavior and attitudes toward AI learning tools. Moreover, the proposed portrait model is built based on AI technology, i.e., random forest algorithm and long short-term memory (LSTM) algorithm are applied. In this model, there are three main parts: data pre-processing, building a multi-dimensional label system, and portrait model of college students. Firstly, the information collected through the questionnaire is quantified and its quality is improved by deleting invalid data. Then, a multi-dimensional label system is built for college students’ portraits, including basic attributes, online behavior attributes, behavioral attributes of using learning software, and psychological attributes of AI learning tools. Since each label consists of multiple indexes, the variance-based filtering method is used to streamline the indexes of online behavior attributes and behavioral attributes of using learning software, the random forest algorithm is applied to reduce the dimension of psychological attributes of AI learning tools. Next, the portrait of college students’ online learning behavior is realized by the K-means clustering algorithm, and the LSTM algorithm is performed to get the mapping mechanism between data and portrait categories. Through the mapping mechanism, the portrait of any new college student who is not included in the original dataset can be obtained quickly. Finally, the validity of the proposed model is verified by analyzing the questionnaire results of college students. Additionally, the portrait results provide a data basis for the development and popularization of AI learning tools.

The article demonstrates that during the 1970s, Moldovan painting focused deeply on rural life and folk traditions, expressing them profoundly. Plastic artists depicted the beauty and authenticity of rural landscapes on canvas, highlighting the close connection between people and nature. Portraits and everyday life scenes brought to the forefront authentic faces and moments experienced by ordinary people. Realism and decorative elements harmoniously intertwined in their creations. Dances and folk traditions were represented in various forms, conveying the energy of traditional events. Folk motifs and symbols underscored Moldova’s cultural and historical identity. Mythology and the legend served as sources of inspiration, bringing forth the metaphorical visions of the artists. Ornamental elements and specific technical principles of Moldovan mural painting emphasized the importance of faith and folklore. Overall, these themes and motifs contributed to shaping an authentic image of Moldovan culture in the painting of the 1970s.

L.M. Leonov dreamed of becoming an artist and the painter’s talent was embodied in his prose. His landscapes, portraits, portraits against the background of a forest in the tradition of, for example, M.V. Nesterov play an important role in the internal form of his works. The novel “Russian Forest” is indicative in this regard. The purpose of the study is to explain the functions of pictorial allusions and ekphrasis in this novel. The following tasks are solved: identify the most common allusions and ekphrasis in the paintings of Russian artists, which were popular at the time of Leonov painting training, and were subsequently paraphrased in the novel; explain the functions of recognizable paintings by masters of fine art in word painting; argue for the special role of pictorial ekphrasis in the formation of the genre diversity of the novel. As a result, some essential features of the writer’s individual style in the novel under study are clarified: the prose writer’s special attention to the descriptive component of the work makes it possible to assert that his appeal to analogies with fine art is deliberate, since they contribute to the creation of not just a scientific-production or abstract-philosophical novel, but builds a whole series of genre lines, which are supported by recognizable pictorial visualization, on the one hand, and, on the other, forms a deep socio-psychological and lyrical plan of the work. Comparisons of specific paintings transformed into ekphrasis in prose provide scientists with rich material for drawing conclusions about the synthesis of painting and prose.

The turbulent first decades of the XX century resulted in the fact that modern Russians know very little about their ancestors, their social status, occupation, education, etc. Sometimes the only source for numerous genealogical questions can be obtained from unidentified and undated faded photographs. The author made an attempt to identify the Pavlovsk Military School cadets of the Fifth Squad, graduates of the Tenth Accelerated Wartime Course, by their graduation photo made in 1916. The Pavlovsk Military School was one of the most prestigious military education institutions in the Russian Empire. The article contains biographical information and images of cadets whose personality the author managed to identify. Most of them chose the military path guided by the realities of the Great War. These people became witnesses and participants of revolutions, wars, emigration, repressions, and World War II. The research relied on federal and regional archives. The identity of the cadets was confirmed by archival photographs. This research proved that students’ files can be an important historical source. The publication may help to find the descendants of the cadets, as well as to attract the attention of scholars and local historians, and encourage active citizens to provide additional information about their personalities.

The purpose of the study is to establish the technique of creating four miniature portraits by Rosalba Carrera (1673-1757) from the collection of the Bohdan and Varvara Khanenko National Museum of Art (The Khanenko Museum) using optical and physicochemical methods and to introduce the results into scientific circulation. The methodology of the work is to use modern methods of analysing works of art in different spectral ranges, including microscopic, ultraviolet (UV) and infrared (IR) studies, X-ray fluorescence analysis (XRF) and Fourier transform infrared spectroscopy (ATR-FTIR). The scientific novelty is that for the first time a comprehensive study of miniature portraits of the famous Venetian artist Rosalba Carrera from the Khanenko Museum collection is presented, which establishes the technological features of creating miniatures on ivory and their design using various materials, the author's techniques of applying the image of portraits and the identification of pigments of the paint layer. Conclusions. As a result of the research, it was found that ivory was used as a basis for creating the miniatures. Infrared light studies have shown the absence of preliminary drawings, author's changes of composition and hidden signatures on the miniatures. The XRF method confirmed that copper substrates, gilded silver frames, and Venetian glass coverings were used in the design of the art objects. It has been established that the portraits were painted with watercolours using the author's spot method, and the pigments in the paint composition identified by ATR-FTIR correspond to the time of creation of the miniatures in the second quarter of the 18th century, which coincides with the museum attribution. The results obtained can be useful for art historians, restorers, and technology experts for the attribution/re-attribution of works of art of the 18th- 19th centuries. [ABSTRACT FROM AUTHOR]

The purpose of the article is to analyse the influence of accurate attribution on the process of preservation of historical portrait miniatures. Research methodology. The systemic method was applied to analyse portrait miniatures as a complex system that includes authorship, historical and cultural context, materials and techniques of creation. Using a systematic approach, the author of the article was able to identify the relationships between different aspects of the portrait miniature and their influence on their conservation strategies. A dialectical method was used to understand the dynamics between accurate attribution and miniature preservation processes. Within the dialectical analysis, different points of view regarding the meaning of attribution were considered, from the practical aspects of preservation to the philosophical questions of authorship and authenticity. The search method made it possible to collect a wide range of data on historical portrait miniatures, their authors, execution techniques and preservation history. The search method ensured the collection of the necessary information for the accurate attribution of miniatures and the study of their impact on conservation practices. Scientific novelty. The study highlights how an understanding of the historical and cultural context of miniatures, achieved through accurate attribution, can influence exhibition decisions, museum education programmes, and cultural heritage conservation strategies. Conclusions. Accurate attribution provides a scientifically sound basis for the selection of conservation and restoration methods, which is critical for the preservation of historic portrait miniatures according to their age, style, and materials used. Accurate attribution helps museum collections and exhibition design by enabling museum professionals to effectively classify and present miniatures in the context of their historical and cultural significance. The study emphasises the importance of ethical considerations in the attribution process, emphasising the need for a balanced approach between the use of modern technologies and the preservation of the authenticity of works. [ABSTRACT FROM AUTHOR]

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Copyright of Kipus: Revista Andina de Letras y Estudios Culturales is the property of Universidad Andina Simon Bolivar, Sede Ecuador 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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Criminals, depending on the areas in which they live, develop a diversity of personalities and traits, and understanding them helps to comprehend the mechanism of committing illegal acts and therefore aids the development of effective mechanisms to prevent and fight crime. The specificity of the rural zones in the Republic of Moldova is also determined by certain conditions and factors that contribute to the formation of criminals with certain specific traits and characteristics. Studying the distinctive features of rural lawbreakers would help police officials to foresee some risk situations and develop a number of general, special or even individual preventive measures. As a result, rural crime could be controlled or even reduced to an extent to provide citizens with a sense of security and a sense of peace. [ABSTRACT FROM AUTHOR]

This paper's aims is to analyze the presence and effects of syphilis on three characters from the Spanish literature: Lozana (La Lozana andaluza, 1528), Maxi Rubín (Fortunata y Jacinta, 1887) and Max Estrella (Luces de Bohemia, 1920). The common thread is constituted by three features that give thematic and temporal coherence and cohesion to the studied works: the grotesque framing that portrays the vicissitudes and characterisation of the syphilitic, the relevance of their symptoms for the plot, and how the latter connect with the character's final disillusionment. Thus, this critical interpretation seeks to reform and emphasize the symbolism of these characters by analyzing the truthful repercussions this illness has on their actions. [ABSTRACT FROM AUTHOR]

This exploration of the works of various authors and artists will bring us to a philosophical contemplation of the portrait as a heterotopic space. On one hand, a portrait represents the faces of the self and others, embodying both individuality and collectivity. On the other hand, the space within the conventional frame of a portrait transforms from a mere representation of documented reality to a co-constructed and reified form of expression. The article is divided in three parts. The first part sinks into Lotman's epistemic groundwork on culture, space, and especially art as a founding philosophical and analytical reference and will also outline the relationship and difference between the semiophere and the facesphere. The second part focuses on establishing a relationship between the facesphere and the heterotopic idea of space and portrait genre. Here the article explores Michael Foucault's thought in relation to heterotopic space, later proposed in association with the space of the portrait. The third part is devoted to establishing relationships between the theoretical background and the analysis of case studies belonging to the portrait genre selected from photographic works in "Living Pictures: Photography in Southeast Asia," an exhibition at the National Gallery in Singapore. I will conclude with some brief considerations to summarize the path taken. [ABSTRACT FROM AUTHOR]

From the organisation and control of coinage by the Roman state, to the choice of types and legends for denominations and their distribution to the public, coinage appears to be a tool of power, with the smallest details determined by an official decision. Among the studies of Late Roman coinage carried out over the last twenty years, particular attention has been paid to monetary iconography, which is supposed to reflect an image of power that conforms to the expectations of the latter. Different approaches to the typological repertoire used in mints have made it possible to examine the role of coinage not only as a medium for imperial ideology, but also in the media presentation of the emperor and the legitimisation of his power.

В статье изучается роль монгольских скульпторов — выпускников Ленинградского института живописи, скульптуры и архитектуры имени И.Е. Репина в развитии местной школы ваяния. Данный вопрос до сих пор недостаточно исследован в историографии монгольского искусства, а отдельные упоминания о деятельности этих мастеров в научной и научно-популярной литературе не складываются в целостную картину. Между тем произведения скульпторов-репинцев представляют интерес не только сами по себе, в плане их высокого художественного совершенства. Ими также обозначаются важные вехи в эволюции местной школы, поскольку в них были впервые поставлены и разрешены такие творческие задачи, за которые монгольские мастера до тех пор еще не брались. Благодаря этому на примере деятельности скульпторов — выпускников Репинского института можно в сжатом виде проследить траекторию развития всей скульптуры Монголии с середины XX века до наших дней. Главным новшеством для монгольской пластики прошлого столетия явилось возникновение в ней светской тематики и связанных с нею жанров портрета, памятника и монументальной скульптуры. Овладение их возможностями потребовало от местных мастеров основательной технической подготовки и знания базовых принципов художественной организации пластической формы. Какими стали первые шаги в этом направлении, показывает анализ творческой деятельности выдающегося монгольского скульптора А. Даваацэрэна, выпускника института 1956 года. Мастер поразительно широкого творческого диапазона (выполнял аллегории, исторические сцены, портреты, произведения монументально-декоративной скульптуры), он, помимо прочего, впервые в монгольском искусстве поставил вопрос о необходимости соединения навыков реалистической передачи окружающего мира с национальными традициями. Помимо Даваацэрэна, важную роль в развитии монгольской пластики на протяжении 1960-х и 70-х годов сыграли другие скульпторы-репинцы: Д. Санжаа, Л. Дашдэлэг, У. Болд и Ц. Доржсуурэн. С их именами связан ряд важных новшеств, в частности утверждение на монгольской почве типологии скульптурного монумента (мемориальный комплекс на Зайсан-Толгое в Улан-Баторе, открытый в 1979 году). С другой стороны, названные мастера вводили в монгольскую скульптуру новые изобразительные темы (в частности, тематику «сурового стиля») и практиковали работу с необычными для нее материалами, также начав постепенный отход от реалистических принципов, экспериментируя с художественными формами. Поэтому от их деятельности протягивается нить стилистической преемственности к произведениям скульпторов следующего поколения, среди которых важное место занимают имена Ц. Амгалана, Р. Энхтайвана, Б. Дэнзэна и других ваятелей. Многие из них начали свою деятельность еще в 1980-х годах, однако их творчество образовало плавный переход к современному монгольскому искусству скульптуры, развивающемуся во многом благодаря усилиям бывших студентов-репинцев.

В статье анализируется понятие идеализации. Разбираются различные смыслы, которые в него вкладываются. Особое внимание уделяется истолкованию идеализации в немецкой классической философии, особенно в философском наследии Шеллинга. По Шеллингу, процесс идеализации подразумевает художественное постижение и выражение идеальной сущности вещей, людей и событий через ее явленность в образно-символической форме. Идеализация противостоит, с одной стороны, натурализму в искусстве, а с другой, рационалистическим идеализациям действительности в смысле ее приукрашивания. Показывается присутствие художественной идеализации в различных жанрах изобразительного искусства: натюрморте, пейзаже, портрете, исторических полотнах.

Статья посвящена творчеству якутского живописца Зинаиды Курчатовой. Цель работы — изучение творчества, выявление особенностей пластического и образного языка художника, работавшего в таких жанрах, как портрет, пейзаж, тематическая картина. С помощью искусствоведческого анализа были установлены композиционные и колористические приемы, трактовка образов автором. Особое внимание уделено пейзажу: колоритный, лаконичный, наполненный эмоциональной глубиной, лирико-эпичным содержанием, он повествует о красоте северной земли и открывает мировидение автора. Обзор выполнен на основе монографической коллекции З.К. Курчатовой, хранящейся в собрании Национального художественного музея Республики Саха (Якутия). Данная статья приоткрывает практически забытую страницу о творчестве члена Регионального отделения Союза художников Якутии, Союза художников России Зинаиды Курчатовой. Работа впервые публикует и вводит ее наследие в научный оборот. Материал актуален для осмысления творчества живописца и для представления более полной панорамы якутского изобразительного искусства второй половины ХХ века.

Статья посвящена одному из примеров научно-исследовательской работы Приморской государственной картинной галереи с предметами музейных коллекций — атрибуции гравированного «Портрета Д.А. Ровинского», выполненного В.Е. Маковским. Ключевым элементом, требовавшим изучения, была ремарка на полях оттиска, изображение ребенка. В результате источниковедческого исследования, привлечения историко-биографических сведений, сравнения данных Государственного каталога Музейного фонда Российской Федерации, Одесского художественного музея, Государственного музея Л.Н. Толстого, архивной работы установлено, кто именно изображен в дополнении к портрету и при каких обстоятельствах, а также исправлена ранее принятая атрибуция этого графического произведения.

Статья посвящена отображению темы праздника в творчестве Майи Дмитриевны Ковешниковой. Ранее искусствоведами отмечались звучность, торжественность, нарядность натюрмортов с цветами, написанных этой художницей. Цель представленного в статье исследования — выявить особенности изобразительного языка и образного воплощения темы праздника в произведениях разных жанров — натюрморта, портрета, пейзажа, композиции, в которых работала М.Д. Ковешникова (хотя наибольшее внимание ею уделено натюрморту, в том числе и тематическому). С помощью искусствоведческого анализа определены композиционные и колористические приемы, смысловая наполненность образов. Элементы иконографического и символико-культурологического методов изучения картин позволили выявить образно-символический ряд, вписанный как в контекст русской и советской культуры, так и в континуум мировоззрения художницы. В качестве лейтмотивов в раскрытии темы праздника определены образы и символы русской народной культуры (элементы стеновой росписи, орнаментальной вышивки, образы хлеба, цветов и др.), знаковая работа с цветом (преимущественно красным) и светом. В содержательном плане праздник в творчестве М.Д. Ковешниковой связан с культурным наследием, народной и личной памятью, прославлением труда и силы человеческого духа, окрашен в разные эмоциональные тона.

The paper examines five poems in which the Portuguese Baroque poet Frei Jerónimo Baía (1620-1688) depicts the portrait of the beloved woman. Each of these texts features the list of the different body parts praised for their beauty, following a model already present in the Petrarchist tradition. Baía combines to this model, like other authors of the same period, a display of wit and a playful disposition for wordplay, hyperbole, and paradox.

The article highlights the creative originality of Sergiu Galben, a prominent representative of Moldavian fine arts from the second half of the 20th century – the beginning of the 21st century. His works, varied in terms of motifs and expressive means, impress with the author’s emotional openness, suggest his harmonious connection with the uni- verse of nature, his love for his native land. The artist is emotionally close to the environment of working people from the countryside, which he paints based on the well-assimilated European plastic culture.

This paper focuses on historic anthropological photographs, meant to depict Indigenous individuals as generic models of colonial stereotypes, and examines their later reclamation as portraits. Applying an intention-based account of portraiture, we discuss the historical context and contemporary examples of the utilisation of these images in order to address several questions. What happens when the depicted persons in colonial imagery are treated and presented as sitters, rather than model specimens? Does this change the nature of the image? If a photograph was not originally intended as a portrait, can it come to function as such at a later stage? Regardless of whether they fulfill all the requirements necessary for portraiture, these colonial photographs represent a vital resource for the reclamation of Indigenous cultural heritage. As such, this paper serves as an introductory discussion into the complex issues surrounding the recategorisation, repatriation, and restitution of colonial photographic archives.

This article examines how portraiture is presented in Giorgio Vasari’s Lives (1550 and 1568). The Lives claims portraits are to remember the dead and instruct the living; to do this, they must be accurate copies of the sitter. Praising portraits as copies effectively endorses the often-promotional messages of the portraits themselves. However, the book praises some portraits as beautiful and miraculous works in neoplatonic terms. The idealism of neoplatonism is at odds with the requirement to have an accurate copy of the sitter and this apparent contradiction can be understood as a consequence of the unstated purpose of the Lives; to propagandise on behalf of Cosimo I de’ Medici’s Florence. The portraits of the Medici and their associates are praised as both lifelike and exceptional, and thus readers are encouraged to believe that the sitters are actually exceptional.