The article tells about St. Petersburg distinctive
watercolor painter, Oleg I. Pomerantsev (1949-2012).
Master's career is inseparably linked with Russian
realism. The artist acts as a successor of fundamental
high artistic traditions of realistic art. Working in a
landscape genre, Pomerantsev managed to create more
than 500 paintings deep in a content and meaning. In his
spare time Master developed his own techniques of
watercolor art. The entire artist’s works were performed
under his impression. He received inspiration on
fishing trips, in woods and then at home master
reproduced what he saw from memory. Most of his
works are in private collections and galleries all around
the world. Romantic landscapes of Oleg I. Pomerantsev
affect by their transparency, complex color techniques
and inexpressible atmosphere, full of air and light.
Complex colour manners and inexpressible atmosphere
full of air and light. Graphic works by the artist,
executed in pencil on paper are very interesting too.
Sometimes master was fond of drawing in details, so
such works were not suitable for watercolors. In his
watercolor works Pomerantsev did only hardly visible
pencil drawing. The artist did not specialized in graphics
so he ruled out his pencil sketches as unsuitable, but the
wife of the artist has kept them. Watercolorist Oleg I.
Pomerantsev is unknown to Russian art-critics. In
view of that, the article was tasked to give for the first
time an art rating to the artist’s creation, to make an art
analysis of his works from the cycle "The Karelian
isthmus" dedicated to the settlement of Kirillovskoe in
Vyborg district. The study of creativity of Oleg
Pomerantsev by professional critics will allow to
expand qualitatively the history of watercolor painting
of Russia
A Karelian stage in the life of the great Russian artist,
Nicholas Roerich, is relatively well-known. However,
researchers have not been practically studied the
period of residence of the Roerich family in Vyborg. It
is known that N. Roerich was friends with the Finnish
artist A. Gallen-Kallela, who helped him to remain in
Finnish Vyborg in the period of revolutionary events
in Russia. From October 1918 to May 1919 the
Roerich family lived in Viborg in Ladaunkatu (now
Turgenev St.), №8. The painting «Autumn» (1919)
was written by the artist during the Vyborg’s period.
The painting was created in a fantastic manner which
was usual for the artist. Unfortunately, at the moment
nothing is known about his other works with views of
Vyborg. However, in the catalog of his works,
published in the USA in the 1920-es , under the name
of each picture is given information about where and
when it was created. Thus, under some of the works of
the artist is the mark: «Painted in Viborg». So, today
we can say about some works of master, which he
wrote in Vyborg. In the first place, there are famous
paintings of the artist: «Repentance», «Call of the bell.
Old Pskov», «Sons of the Heavens», «The heat of the
Earth», «Autumn – Vyborg», «Les Miserables
(Outcast)», «Treasure» and others. As well, in 1918 at
the time of staying the family in Vyborg a number of
sketches in "Vyborg Notebook" were made by his
son, Svetoslav Roerich, who was then 16 years old.
Probably, inexhaustible diligence of Roerich gave a
rise to other works with the theme of Vyborg, which
scientists do not know because this topic has not been
investigated
This article focuses on the early literary works dedicated to the cultural heritage of the artist, as well as on the peculiarities of the approaches used by the researchers in their studies
The article deals with the problem of the theatre functioning in the communicative area. It has the analysis of the elements belonging to the structure of the communicative act, their complexity and interrelationship
The article reveals the meaning of several Slavonic signs and symbols on the embroidered ornaments of Russian folk costumes and objects of domestic decor. The role of decoration of embroidered national costumes traces in the transmission of values and meanings of ethnic culture. Perpetuation of national cultural traditions in Russia
In this work a survey of different approaches to determination of the concept «art style» is made, principal supporting positions of interrelation of styles and forming of new styles and directions with accent on expressive means system analysis are also considered
The article traces the history of origin of ecclesiastical embroidery in Ancient Russia, the use of works of embroidery in the design of Christian worship and decorative furnishings of the temples. The process of creation and artistic features of the medieval Russian art sewing
The Article is devoted to substantial aspects of the Chinese piano concerts. As the carrier of sense, semantics is investigated. Examples of semantics are given from three program concerts: "Yellow River" Yin Chengzonga and creative group – Chu Wanghua, Liu Zhuang, Sheng Likhoun, Shi Shuchen and Xu Feysin, "The mountain wood" of Liu Dunan and "Beauty of spring" of Du Mingxin. One of important typological features of the Chinese piano concerts is caused by the appeal to model of the European classical tool concert in respect of interpretation of a form, performing structure, a role of the soloist tool, its ratio with orchestra, etc. All the composers initially sought to embody national musical contents in the European genre. It is implemented first of all through a semantic complex. Proceeding from hierarchy of the semantic importance, it can be classified as follows: 1) semantics of images of the nature, 2) semantics of sounding of national tools, 3) semantics of melodies, popular in the Chinese environment, 4) genre semantics, 5) semantics of means of musical expressiveness. Introduction of semantics to musical language bears communicative function. The important value had also that presence of a semantic range at the art text is natural to consciousness and art perception of the Chinese
We investigate D. D. Shostakovich's opera “Gamblers”
is in the context of an intertext. In this opera, the psychological
drama develops; this complex artistic task is
solved largely thanks to masterful introduction of a
variety of intertextual links. “Gamblers” is an example
of recitative opera with an intense, “passionate” vocal
style and flexible technique ranging from secco to a
gushy accompagnato. The text directs melodic development
and intertextual links. The appeal to a method
of the intertextual analysis opens interaction between
“Gamblers” and their dialogue with musical classics
and other Shostakovich’s works. Own creativity and
the whole layer of classical works first of all acts as
donor texts: operas style bel canto, opera-buffa, D.
Verdi’s opera “La traviata”, Russian recitative opera –
A. S. Dargomyzhsky, N. A. Rimsky-Korsakov, M. P.
Mussorgsky, works by A. P. Borodin, P. I.
Tchaikovsky, and of painter and literary texts – P. A.
Fedotov, A. S. Pushkin, L. N. Tolstoy, F. M. Dostoevsky.
The intertextual artistic methods, enabled by
Shostakovich express a complex psychological content
The article explores the main types of musical education.
We created a table of classification based on the
experience of world and Russian culture, personal
educational experience. The classification table shows
the main features of music education and provides
brief comments for each species. We show the multiplicity
and multidimensionality of the types of educational
activities. Educational activities were classified
into nine types of classification: form, volume, organizational
complexity, subject, audience, socioeconomic
status, genres, performing music composition,
connection with media space. It is noted that the
main forms are musical-educational lecture and educational
concert. Other forms derive from these main
types. The article made an important conclusion: music
education should be considered a form of communication
between musicians and listeners, which along
with the aesthetic component plays an important role
cognitive component aimed at the formation of the
musical (or artistic) culture of the public