Suchergebnisse

The Image of Mihai Viteazul in 19th-century Romanian Painting. The Romanian artistic movement of the 19th-century assisted the political endeavor of national legitimization by establishing the Romanian identity, in its various forms, through art. By adapting the example of their neoclassical and romantic counterparts they depicted various patriotic symbols on their canvases in order to appeal both to the population, from a visual standpoint, and their inherent political cause: obtaining independence and unifying the historical Romanian provinces. Such unity was first achieved by the historical figure of Mihai Viteazul, a Wallachian prince of the late 16th century. As a consequence, his figure became one of the main motifs illustrated in the art of the time, being closely tied to the concept of Romanian historic identity. The artists underwent a process of research in order to represent and bring forward a faithful image of the ruler, and some of his greatest achievements. Both historical and literary sources were approached, resulting in a diverse body of paintings, which will be discussed in the present article. The research aims to establish the sources on which the various artworks were based, the accuracy of the represented message with respect to the historical background of the ruler as well as the various stylistic approaches of the artists in question.
Keywords: painting, portraiture, Romanian artist, Mihai Viteazul, 19th century.

The purpose of the article is to analyse the romanticised artistic image of Esmeralda in the works of nineteenth-century artists – one of the key characters of Victor Hugo's novel Notre Dame de Paris (1831) as a typical example of French literature of the Romantic period. This work is characterised by grotesqueness, hyperbole, conflict, and a tendency to dramatic moments in the plot construction, which is embodied in the figure of Esmeralda, a freedom-loving and charismatic Roma dancer. As a symbol of the two fundamental vectors of social development, which consisted in the struggle between good and evil, she captured the imagination of nineteenth-century artists, encouraging them to develop creatively and convey their feelings through visual tools in a romantic and realistic way. To this end, the following research methods were used: the historical method, which allowed to conduct study in accordance with the period of writing the novel and the works of art; the comparative method for comparing works of art united by a common storyline; the art historical analysis for establishing a number of stylistic and compositional features of each work. The scientific novelty is that for the first time a number of nineteenth-century paintings depicting the heroine of Notre Dame de Paris, Esmeralda, has been classified. The criterion for this selection was visual poetisation of the image of Esmeralda. Conclusions. The analysis of works by William-Adolphe Bouguereau, William Gale, Eugene Henry, Friedrich Kraus, Joseph van Lerius, Lionel Royer, Carl Steuben proves the attention of these and other artists to the figure of Esmeralda from Victor Hugo's novel Notre Dame de Paris. In the analysed paintings, the image of Esmeralda reflects the key features of the romantic worldview: the cult of feelings, attention to inner experiences of an individual, fascination with demonic female images, among others. The pictorial interpretations of Esmeralda's image by Romantic artists allow us to better understand the plot trends inherent in the Romantic period, and also to depict the external and internal beauty of women in the trends of Realism.

The purpose of the article is to analyse the Roma theme in the landscape painting in the works of artists-realists of the second half of the XIXth century. The research highlights the motives, related to the traditions of the Roma, which attracted the realistic direction artists' attention. It is reviewed that the majority of Roma images and their traditional life style of the second half of the 19th century were presented in the painting works with the introduction of the landscape storylines. The research methodology includes the following methods: historical-cultural method and analytical one, a method of the historical-artistic typology and logical-generalizing method. These methods made it possible to follow the development of Romani subjects in the landscape art of the studied period. The scientific novelty of the article is an attempt to fill up the lack of research on the chosen topic and the need to introduce it into the scientific circulation as such, which will make the Roma topic in the context of realistic landscape painting in the world fine art of the XIXth century interesting for the researchers, historians etc. Conclusions. The research consists of the several stages. The first one is the analysis of the historiographical base, which has allowed to emphasize the relevance of studying the dialogue of the landscape and Roma images in the works of realist artists. During the second research stage, the peculiarities of the landscape genre in the realism direction works are characterized. In addition, the canvases of August von Pettenkofen (1854), Kharyton Platonov (1877), David Bates' (1886) and Franciszek Streitt (1885–1886) were singled out from the array of the artistic works and described in the context of the interdependence of the landscape and Roma images and (or) scenes from Roma life. Finally, it is shown that the landscape does not contrast with the Roma theme in these works, moreover it is a tool for its highlighting. Therefore, it is logical to conclude that the landscape line was used by realist artists as a logical component of the romance of nomadism in the XIXth century.

The purpose of the article is to introduce into scientific circulation, to attribute modern compositions of the academic mural painting in the Dormition Cathedral of the Kyiv-Pechersk Lavra, to study their genesis. The research methodology consists in the complex application of historical and cultural analysis, art study, diachronic ones, as well as empirical observation. The scientific novelty of the study. The materials of the survey and proposals for restoration (1998) the compositions of academic mural painting in the Dormition Cathedral of the Kyiv-Pechersk Lavra of the late 19th – early 20th centuries have been introduced into scientific circulation. The academic mural painting in the Dormition Cathedral, the 21st century, has been introduced into scientific circulation. Its attribution has been performed. The names of the artists have been introduced into scientific circulation and it has been detailed who among them is the author of the project, who painted the holy images and who painted the ornaments. The dating of the compositions in different compartments of the Cathedral and the technique of their performance have been determined. The main thematic and plot lines have been revealed. The thematic, plot, iconographic, decorative, coloristic connections of the modern academic mural painting with the murals of the late 19th – early 20th centuries and with visual records have been studied. The similarities and differences of the academic compositions of 1897–1901 and 2018–2022 have been analysed. The principle of forming the colouring of modern academic murals has been revealed. Conclusions. In the modern decoration of the Dormition Cathedral of the Kyiv-Pechersk Lavra, the Academicism painting (1897–1901) is presented in the apse of the southern nave (diaconicon). In this compartment, authentic fragments of academic compositions have been restored, the painting system has been revived based on archival photos, and some new academic compositions have been introduced to it. Mural paintings have been performed by artists under the supervision of Oleksandr Pashkovskyi in 2018–2019. They also performed new murals in the academic tradition in the altar part of side-altar of the Saint Apostle Andrew the First Called in the southern part of choirs in 2020–2021. In the northern part of the choirs, paintings have been started and then suspended in 2022. In the new murals complex the artists cite in extenso or in part the compositions of the late 19th – early 20th centuries using archival photos. The murals have been performed in mixed techniques: holy images in oil, ornaments in acrylic paints. The composition 'Glorification of Theotokos' differs in the techniques; it is painted with oil on canvas. In the modern interpretation, the cited compositions can keep or change the primary location. The colouring of the new murals is formed on the basis of fragments of authentic compositions. A considerable part of the decoration is occupied by stylised ornaments as well as in murals of 1897–1901. The new and primary mural painting combine same academic principles of visual language, iconographic and colour principles, thematic and plot lines. Same general thematic lines are such as Theotokos theme, the theme of the Last Judgment, the Christianization of Ancient Rus, images of the saints of Ancient Rus and saints associated with the Kyiv-Pechersk Lavra.
Keywords: sacral culture, Orthodoxy, academic painting, mural painting, sacral painting, Ukrainian painting, Dormition Cathedral.

This article discusses three nineteenth-century paintings from the Columbia University art collection, stewarded by Art Properties, Avery Architectural & Fine Arts Library: a portrait of Lord Byron by an unknown British artist after George Sanders; "The Sandpits near Valmondois (Les Sablières près Valmondois)" by the French artist Charles-François Daubigny; and "Military Scene" by the German artist Christian Sell.

The article is dedicated to the insufficiently studied problem of N.F. Fyodorov's projective aesthetics research connected to his interpretation of Russian painting of the 19th century. The objects of the analysis are such works of the philosopher as "The Question of Restoration of Kinship among Mankind. The Means for the Restoration of Kinship (Sobor)" (1880s), "About the Kremlin Walls Paintings" (1893), "Kremlin Walls" (1893), "The brilliant robber. (About Ge's Painting "The Crucifixion")" (1894), "Moscow Rumyantsev's Museum by the Kremlin and the Monument to the Founder of this Museum in the Kremlin" (1898) and other works. The article considers N.F. Fyodorov's analysis of paintings by A.A. Ivanov, N.N. Ge, V.V. Vereschagin, and I.E. Repin. The comparative investigation of the aesthetic program and artistic ideas of Ivanov and Fyodorov is based on the analysis of the painting "The Apparition of Christ before the People" (1858). The article traces the influence of the artist's works on the conceptual and compositional creation of the "pictorial demonstration" of Fyodorov's aesthetic supramoralism. It uncovers the specificity of the philosopher's religious-philosophical discourse, defined by the iconographic traditions and imaginary system of Christian art. The analysis of Fyodorov's texts dedicated to the paintings by Ge and Repin, reveals that he does not accept the aesthetic program of realism. The article defines the meaning of projective ecphrasis in Fyodorov's critical account of Ge's "Biblical cycle" as a theurgical project. The reception of Vereschagin's painting is considered in the context of the historiosophical ideas of Fyodorov, based on the principles of Christian eschatology.

Thomas L. Cooper
Deux grandes peintures balinaises traditionnelles sont décrites, que le Wereldmuseum de Rotterdam reçut en 1928 d'un legs de G.P. Rouffaer. Leur provenance, ainsi que leur style très particulier, que partage un grand nombre de peintures de la collection Van der Tuuk, permettent d'en attribuer la facture à I Ketut Gedé de Singaraja, dans le nord de Bali. Cet artiste produisit de nombreuses peintures pour H.N. van der Tuuk dans les années 1880 et 1890 et reçut également, après 1905, des commandes de W.O.J. Nieuwenkamp, qui le tenait pour le meilleur peintre classique de son temps.

The purpose of the article is to analyse the collection of Cossack portrait painting of the 18th-early 19th centuries from the collection of the Dnipro Art Museum, with further classification of genre types and the role of specified works in the development of Ukrainian portraiture. The research methodology is based on a combination of general scientific and special methods of cognition. The leading tools of the research toolkit are analytical, historical-chronological, and systematic, which make it possible to thoroughly consider the material in art history and historical contexts, to obtain results for further searches in order to clarify attribution. The scientific novelty of the research lies in comprehensive study of artworks of particular collection of Cossack portraits of the 18th-early 19th centuries from Dnipro Art Museum collection, in which, next to famous historical figures (I. Samoylovych, I. Mazepa, I. Skoropadsky), we see little-known images (the scribe I. Nevinchany, the bishop Joseph). Their artistic and historical significance in the development of national portrait painting is determined. Conclusions. The eight portraits from Dnipro Art Museum collection considered in the article gave the author opportunity to research a number of portraits of Cossack figures of the 18th century, to trace important facts of creation of artworks group from first formation period of museum collection by efforts of Dmytro Yavornytskyi. The character analysis of the portraits proved the presence of main genre varieties in the collection – ktitori, epitaph, secular ceremonial and chamber types. Particularly important for research is the portrait of Hetman I. Mazepa, which shows an easel variation of the founder portrait. Most of the considered artworks represent the baroque in their stylistics, instead "Portrait of Pavlo Rudenko" by the brush of Volodymyr Borovikovskyi shows characteristics of a classical portrait. The artworks considered in the article specify the stylistics of national types.

The purpose of the research is to analyze the stylistic and narrative peculiarities of the works of genre realistic painting dedicated to Roma images of the 19th – early 20th centuries. Research methodology. To achieve this purpose, the comparative historical method and art historical analysis were used. The scientific novelty of the study is justified by its purpose: the study is the first attempt in the national art history to analyze works of some European realist artists of the 19th – early 20th centuries on the Roma theme represented in the works of narrative genre. This theme has not been actually studied, although it eloquently represents the growing interest in the subjective depiction of a wide-range life of various social strata and ethnic communities in the European countries and is one that influenced the formation of more positive attitude towards Roma people in the 19th – early 20th centuries, who were oppressed by the policies of national European states. Conclusions. The article analyzes some artistic works of Thomas Baker, August von Pettenkofen, Alfred Munnings as typical representatives of realistic painting in Europe of the 19th – early 20th centuries, whose creative heritage contains some storylines dedicated to Roma images in the context of socio-economic, spiritual and cultural aspects of Roma existence. It is emphasized that these artists, as leaders of public opinion, who were not indifferent to a difficult situation of Roma communities, improved the attitude of society thereto in this period. Two ideological and narrative trends have been described. The first describes difficult social and material situation, and the second focuses on creating an areola of romance around the life of Roma communities. Thus, it is established that the works of European artists not only drew attention to social and domestic problems of the Roma ethnic group, but also are typical examples of realistic painting of that period.

The article is aimed at studying the process of formation of Chinese painting in mixed techniques. Analysis of the works of such outstanding masters as Xu Beihong, Zhao Zhiqian, Wu Changshi, Xugu, Qi Baishi and others allows to reveal the main directions of experimental searches in Chinese art, various ways of rethinking, revival and renewal of national painting. Particular attention is paid to historical and cultural environments that shaped certain trends in evolution of Chinese art.

The purpose of the article is to discover the mural paintings of the Great Pechersk Church as the version of theology and academic sacred mural painting of the late 19th century. The research methodology is based on complex using historical and cultural analysis, art study analysis, and biographical method. Scientific novelty. It is determined that the process of creating the Old Russian image in the Great Pechersk Church (the Dormition Cathedral) began in 1880. The photo of the drawing of the ancient part of the Church made by the order of A. Prakhov in 1893, has been introduced into scientific circulation. The author studied the painting decoration as a synthesis of the academic theological thought and academic sacred mural painting, discovered its implementation in choosing topics, plots, and placement of compositions. The author gave a characteristic of the source corps on the paintings from the collection of the National Preserve "Kyiv-Pechersk Lavra". The author researched the transformation of painting preliminary design and Byzantine Canon of the 11–12th centuries on behalf of the Holy Mother of God theme and observed the connection of the composition "Ascension of Panagia" on the tradition of monastic life in the Kyiv-Pechersk Lavra. The topical and plotlines have been improved namely Christianize Old Russian is determined by one more leading topic. Conclusions. The process of creating a new mural painting in the Great Pechersk Church began still yet 1880. The detection of the ancient part of the Church contributed to the change in its painting decoration. This change was the result of the academic theological program implemented by means of academic sacred mural painting. The tradition of previous painting decoration preserved in the preliminary design end reflected one of the traditions of monastic life in the Kyiv-Pechersk Lavra. The witness in Pechersk Paterikon of the compositions in the Great Church has been implemented in mural paintings. However, the academic theological opinion of the late 19th century was subordinated to the canon of 11–12th centuries not complete. The theme of the introduction of Christianity was presented in mural painting as one of the leading topics.