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Актуальность исследования обусловлена проблемой развития творческих способностей студентов художественной направленности в обучении. В художественных вузах проблема обучения творческого потенциала студентов стоит остро. Поэтому важно в учебно-воспитательном процессе формировать творческий потенциал и художественно-творческие способности студентов в зависимости от их эстетических потребностей. Особое значение придается понятиям художественного образа, формы и содержания творческой работы будущих художников. Важно весь учебный процесс подчинить выполнению главных задач профессионального становления молодых художников., The relevance of the study is due to the problem of developing the creative abilities of students of artistic orientation in education. In art universities, the problem of teaching the creative potential of students is acute. Therefore, it is important in the educational process to form the creative potential and artistic and creative abilities of students, depending on their aesthetic needs. Of particular importance is revealed the concepts of artistic image, form and content of the creative work of future artists. It is important to subordinate the entire educational process to the fulfillment of the main tasks of the professional development of young artists.

The object of the research is the “Caucasian text” by A. S. Griboedov in his pictorial aesthetics. The purpose of the study is to identify the features and principles of creating the illusion of visual perception in the "Caucasian text" by A. S. Griboedov. The relevance of the problem is determined by the accentuation of the value acquaintance of the Russian reader with the Caucasian culture in its natural component, as well as the insufficient knowledge of the "Caucasian text" by A. S. Griboedov and the need to clarify the features of the formation of the poet's artistic method. The novelty of the study is to identify the features of the poetics of visualization in the “Caucasian text” by A. S. Griboedov, to determine the mechanisms of verbal transmission of the picturesque. By analyzing the “Caucasian text” in the tradition of pittoresque voyage (traveling in search of the picturesque), the article first examines the poetics of pictorial art of A. S. Griboedov, manifested in the selection of colorful views, following the principle of local color, finding color solutions for verbal landscapes. Among the leading principles of visualization, the principles of framing, the alternation of general, large and super-large (volumetric images of small details) plans stand out. Conclusions are drawn about the importance of visualization tools for creating natural and national everyday paintings in the Caucasus. The dominance of the poetics of tangible objectivity in the reproduction of national paintings and historical events allows us to consider the “Caucasian text” by A. S. Griboedov as a step towards a new, realistic tradition of depicting the Caucasus, and realism as the basis of the poet’s artistic method.

The article is devoted to the beauty topic as the central theme of art. The author considers beauty as a problem of individual perception. The idea of beauty is incorporated into our consciousness. It gives a person the opportunity to comprehend the world as a beauty manifestation, moreover, create this beauty himself. Using the example of painting, the author shows the importance of active perception of artistic work. It is an individual co-creation of the recipient with the author, in which the entire sensory, emotional, intellectual potential of the perceiver is involved. This process is presented as an activity that positively affects the mental and spiritual state of a person. The author concludes that art has an infinite potential for influencing a person since it is connected with our sensitivity since is intended to delight this sensitivity. The knowledge of beauty is contained in us both consciously and unconsciously. The whole history of human culture, since ancient times, tells us about what beauty is. It all depends on the creative individuality of both the artist and recipient, on what everyone specifically wants to get from art.

The aim of the work is to identify evolution in search of ways to transmit light in the work of Alexander Murashko. Considering the artist’s work from the first studies to the last masterpieces, one can observe the difficult creative path of the master. Soft, diffused light in the first works, still bearing the imprint of icon-painted canons of lighting. Realism in the transmission of lighting in paintings created under the guidance of I. Repin. The play of light and reflexes, the radiance of night lights, the transmission of light-air space - these are the discoveries of the Impressionists, who replenished the artist’s palette. Decorativeism, sculpting forms with the help of light - these helped Murashko to nourish Modern. Having absorbed all these components into his work, synthesizing them, enriching them with Ukrainian folk color, A. Murashko created his own unique style, piercing the canvas with the radiance of sunlight.

Статья посвящена выявлению точек соприкосновения первобытной и современной культур. Предметную основу составили теория и практика художественного творчества, его истоки и эстетический потенциал. Выявляется степень влияния образно-смыслового и символического содержания первобытной и традиционной культур на современное художественное творчество: на стилистические, формальные приемы, тематику, образы; в целом на художественное мышление., The article is devoted to identifying the points of contact between primitive and modern cultures. The subject matter is based on the theory and practice of artistic creativity, its origins and aesthetic potential. The article reveals the degree of influence of the figurative-semantic and symbolic content of primitive and traditional culture on modern artistic creativity: on stylistic, formal techniques, themes, images; in General, on artistic thinking.

Русская акварель в начале ХХІ в. продемонстрировала более чем столетнее развитие и приобрела свой зрелый и целостный характер, что проявилось в следующих аспектах: 1) непрерывном совершенствовании акварельного образования; 2) частом проведении масштабных выставок акварельной живописи и обменах; 3) формировании и постепенном совершенствовании школ и стилей. В настоящей работе выделены пять художников, активно представляющих на арене русской живописи индивидуальные стили акварельного творчества, а также проводятся рассмотрение и анализ произведений, выполненных в технике акварельной живописи. Выявляются и анализируются особенности формирования оригинальных стилей пяти художников, а также причины их признания в профессиональных кругах. Анализ проводится с четырех точек зрения: 1) следование академическому наследию; 2) выбор различных тем и сюжетов, обусловленных региональной культурой; 3) создание оригинальных художественных образов или заимствование образов из других видов искусства; 4) использование акварельных материалов. Настоящее исследование призвано разрушить стереотип, сложившийся у китайских деятелей искусства, в отношении преобладания реализма в русском акварельном творчестве, а также продемонстрировать разнообразный облик современного русского искусства акварели., At the beginning of the 21st century, Russian watercolor painting has become very mature and wholesome after more than 100 years of development. It is mainly manifested in: 1. continuous improvement of watercolor education; 2. frequent large-scale watercolor exhibitions and exchanges; 3. various styles of watercolor have gradually developed and matured. In the second chapter of the paper, the author lists fi ve watercolor painters who were active in the Russian painting world in the early 21st century, and introduces and analyzes their watercolor works. In the third chapter, the author reveals and analyzes the peculiarities of formation of original styles of the fi ve painters, as well as the reasons for their recognition in professional circles from four perspectives: 1. Following the academic heritage; 2. The choice of different themes brought by regional culture; 3. Creation or use of other art categories to create unique artistic images; 4. Research and application of watercolor ontology materials. We hope to break the stereotype of Chinese audience regarding the prevalence of realism in Russian watercolor painting, and to demonstrate the diverse face of contemporary Russian watercolor art., Университетский научный журнал, Выпуск 56 2020

В статье рассказывается о творческой биографии уральского художника Ивана Ивановича Бурлакова и представленных на персональной выставке произведениях в екатеринбургском Доме художника. Определяются ключевые этапы развития его живописи на основе анализа наиболее значимых работ. Выявляются стилистические особенности художественного языка и изобразительные средства для создания пейзажа.

The author of the article highlights the specific problems, solved by the artists in the field, in line with the general trends of plastic art development in the Republic of Moldova. At the beginning of the XX century, sketches prevailed, coupled with the unique desire to perceive the leisurely life of a provincial city. The unpretentious motifs reflected unexpectedly the observations and the state of mind of the authors even after the institution of the Soviet power. The tendency of the transformation of nature into lyrical images became a stable one in the creation of many artists. In the mid-1960s, the tendency towards decorative and monumental expressiveness grew. The re-evaluation of the experience of the European plastic artists was especially fruitful, fact confirmed not only by large-sized paintings, but also by the sketches, which thanks to a well-thoughtful idea obtained the value of the realized image. Almost all artists’ creations are linked to Chisinau where most of them live. The “tourist’s vision”, which reflects the impressions of the journeys in other regions, also becomes typical including landscapes with easily recognizable architectural constructions. However, the developed perception of the plastic imagination of the artists can often lead to unexpected interpretations of the objects. The aesthetic value of the works is in accordance with the originality of the author’s thinking, his ability to inspire the technical material, the unrepeatable intonations of artistic expression.

Этап нового, широкого изучения неофициального искусства в нашей стране недолог, но уже накоплен значительный фактологический и аналитический материал о художниках, художественных сообществах, выставках и процессах, происходивших в среде ленинградского нонконформизма. Однако, этот материал до сих пор остается недостаточно исследованным, а некоторые страницы художественной жизни — обособленными. Необходимость создания целостной картины разноплановых и неоднозначных явлений очевидна. В эту задачу входит расширение круга одного из важнейших феноменов отечественного искусства второй половины ХХ в. — неофициального искусства Ленинграда 1950-х — 1980-х гг. — посредством интегрирования истории возникновения и развития Творческого объединения «Эрмитаж». Группа «Эрмитаж» — неофициальная группа художников, представляющая одно из многих художественных течений в изобразительном искусстве Ленинграда 1960-х — 1990-х гг., возникла в конце 1960-х гг. под руководством Г. Я. Длугача. Стезя упорного труда, начатая Длугачем в Государственном Эрмитаже с середины 1950-х гг. с копирования работ великих художников прошлого, через три поколения его учеников-последователей выкристаллизовалась в самобытную теорию аналитической интерпретации. Анализ работ старых мастеров собрания способствует пониманию принципа «художественного исследования», который использовался Длугачем при создании индивидуальных живописных произведений в нетривиальном толковании. Идейную платформу школы сформировали выработанные Длугачем оригинальные принципы анализа живописно-пластической формы и нетривиальное истолкование художественных произведений старых мастеров методом геометрической логистики. Творчество «эрмитажной школы», отражающее основополагающую задачу художников — выражение пластической идеи картины старого мастера посредством комбинаций линий, своеобразным иероглифом, — не ограничилось пространством Эрмитажа. Безусловно, их музейный опыт и дальнейшая художественная деятельность достойны подробного искусствоведческого изучения., The stage of a new, comprehensive examination of unofficial art in Russia is short, but it has already accumulated significant factual and analytical material about artists, art societies, exhibitions and the processes that took place in the Leningrad non-conformist sphere. However, this material still remains insufficiently studied, and some pages of artistic life are isolated. The need to create a holistic view of diverse and ambiguous phenomena is obvious. In the article, the researcher discussed in detail the history and development of the creative association “Hermitage” as an important part of Leningrad unofficial art of the 1950s — 1980s. The “Hermitage” group was an informal group of artists, originated in the late 1960’s under the leadership of Grigory Y. Dlugach. The path of hard work, launched by Dlugach in the Hermitage from the mid-1950s with replication of the works of the great artists of the past, transformed into the original analytical interpretation theory through three generations of his disciples-followers. The author pointed out that the analysis of the works of the old masters from the Hermitage collection contributed to the understanding of the “artistic study” principle which Dlugach used creating individual paintings in non-trivial interpretation. The researcher emphasized that Dlugach’s original principles of the analysis of the pictorial-plastic form and the non-trivial interpretation of classical art works using the method of geometric logistics formed the school’s ideological platform. The work of the “Hermitage school”, reflecting the fundamental task of the artists — an expression of the plastic idea of the old master’s painting through combinations of lines, — was not limited to the Hermitage space. Undoubtedly, their museum experience and further artistic activities are worthy of detailed study.

С течением лет глубже осознается масштаб художника Михаила Греку (1916 – 1998), неординарной и многогранной Личности. Среди видных молдавских мастеров ХХ века он выделялся ярким талантом живописца, духовно-философским даром и беспримерной моральной позицией борца за свободу творчества. Автор данного обзора стремится привлечь внимание читателей журнала к сути новаторства мастера в разные периоды, акцентируя его особую роль в развитии искусства Молдавии., With the years passed we come to a deeper understanding of such a great personality as famous painter Mihail Grecu has been (1916 – 1998). Among the important Moldavian artists of the XX century he was standing out not only by virtue of his talent in painting. He also has been gifted with spiritual and philosophical qualities, having the unexampled moral position in his struggle for freedom in creative activity., №2(5) (2018)