Zolotukhina N.A. —
Artistic and stylistic uniqueness of the Crimean motifs in visual art of the late XIX – early XX centuries
// Culture and Art. – 2020. – ¹ 11.
– P. 1 - 10.
DOI: 10.7256/2454-0625.2020.11.34448
URL: https://en.e-notabene.ru/camag/article_34448.html
Read the article
Abstract: The object of this research is the Russian visual art of the turn of the XIX – XX centuries. The subject of this research is the Crimean theme in visual art of that period. The goal consist in determination of artistic and stylistic uniqueness of the Crimean motifs in paintings and graphics of the late XIX – early XX centuries. Research methodology is comprised of the cultural and historical method, which allow analyzing the evolution of artistic and stylistic systems in the national landscape genre, as well as the development of Crimean theme in art. Based on the synthesis of culturological and art methods, the author reviews cultural and stylistic distinctness of the Crimean motifs of the late XIX – early XX centuries. The novelty of this work lies in the statement that Crimean motifs that enjoyed wide popularity in the artworks of this period are considered one of the style-forming and meaning-forming factors in development of the art and style modes of landscape genre in Crimea. Specificity of the image of nature is defined by the art and style modes that substantiate the authorial concept and system of pictorial means. It is established that the uniqueness of Crimean motifs in painting and graphic art at the turn of the XIX – XX centuries lies in application of vibrating color, fusion with rough strokes of colored shadows, rhythmic principle of creating gradation of colors, soft airy and lighting environment of Crimean landscapes.
Zolotukhina N.A. —
Creativity of Crimean Masters in the Development of the Monumental Art of Crimea in the Period of 1970 - 1980s
// Culture and Art. – 2019. – ¹ 1.
– P. 80 - 93.
DOI: 10.7256/2454-0625.2019.1.28557
URL: https://en.e-notabene.ru/camag/article_28557.html
Read the article
Abstract: Performance of socially important orders through the monumental art has had a direct influence on the development of Crimea regional culture of the late Soviet period. For this reason, the object of this research is the monumental art of Crimea in the period of 1970 - 80s. The creativity of Crimean masters whose works are significant for a number of Crimean cities (Sevastopol, Alushta, Kerch, etc.) is the object of this research. In particular, Zolotukhina analyzes works of Greiser, Kramarenko, V. Atlantov and E. Volobuva. The methodology of this research includes philosophical, artistic and semiotic analysis of the aforesaid works and their influence on the city life. Monumental art of Crimea in the period of 1970-1980s has never been a matter of individual research which causes the novelty of the research. The author has analyzed monumental art that is not used by modern artists, for example, mosaic and encaustic painting.
Zolotukhina N.A. —
Artistic and Empiric Content of Pavel Greyser's Artwork in Terms of Developing the Crimean Mentality of Culture
// Culture and Art. – 2018. – ¹ 5.
– P. 6 - 18.
DOI: 10.7256/2454-0625.2018.5.26321
URL: https://en.e-notabene.ru/camag/article_26321.html
Read the article
Abstract: The object of the research is the artistic and empiric content of the Crimean mentality of culture. The subject of the research is the applied and decorative arts and monumental artwork of a modern artist Pavel Greyser. Mentality represented by his artwork influences the development of the aesthetical image of Crimea. In her research Zolotukhina defines Greyser's artwork as a representation of the basic beliefs of Crimea of the mid - late 20th century and may be of interest to those researchers who study the modern state of an artistic life of a region. The research is based on one of the applied methods of cultural research, philosophical art analysis allowing to objectively define features of the artist's creativity in general by studying particular pieces of his artwork. This method has demonstrated that hidden invariant images of the artist determined his typical concept of the fixation on natural landscapes and mixture of techniques. In addition, the researcher has used the semiotic method as well as the methods of artwork description and analysis. Pavel Greyser's creative works have never been studied before which makes the novelty of the present research. Zolotukhina analyzes stylistic peculiarities of Greyser's artwork as artistic texts that carry a semiotic meaning. Taking into account that in her article Zolotukhina describes only part of Greyser's creative legacy, there is a need in further researches of visual arts created by Pavel Greyser: fine arts, graphic arts and wall painting.