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https://repository.hneu.edu.ua/handle/123456789/37952Повний запис метаданих
| Поле DC | Значення | Мова |
|---|---|---|
| dc.contributor.author | Blyznyuk T. | - |
| dc.contributor.author | Mandrykova M. | - |
| dc.contributor.author | Maistrenko O. | - |
| dc.date.accessioned | 2025-12-07T20:20:20Z | - |
| dc.date.available | 2025-12-07T20:20:20Z | - |
| dc.date.issued | 2025 | - |
| dc.identifier.citation | Blyznyuk T. Genesis and features of the still life genre in fine art / T. Blyznyuk, M. Mandrykova, O. Maistrenko // Актуальнi питання гуманiтарних наук. – 2025. - Вип. 91. - Т. 1. - С. 122-127. | uk_UA |
| dc.identifier.uri | https://repository.hneu.edu.ua/handle/123456789/37952 | - |
| dc.description.abstract | The evolution and significance of the still life genre in the visual arts, particularly in the context of the use of mixed media in painting, is discussed in this survey. The study presents an analysis of the development of this genre, in particular, changes in terminology and artistic approaches to the depiction of everyday objects, labor, flowers, and fruits, as well as the symbolic meanings given to them. In particular, it reveals how still life, initially perceived as a purely decorative element, gradually transformed into a more conceptual genre with profound cultural and philosophical implications. The study substantiates the importance of still life as an independent genre formed in Europe in the 16th–17th centuries. It also emphasizes its development under the influence of changes in artistic priorities, when the realistic depiction of objects became an essential aspect of artists' work. It is found that in the first half of the 17th century, specific terms were introduced in Dutch painting to denote different types of still lifes, such as “ontbijtjes” for breakfasts, “bloemstukken” for lower arrangements, and “visstukken” for fish images. These terms emphasize the diversity of approaches to composition, which reflects the genre's evolution. Subsequently, at the end of the 17th century, the general term “stilleven” began to be used, which made it possible to conceptualize the genre into a single category. The article also explores using color as one of the artist’s primary expressive means. The study revealed how coloristic practices changed from illusionistic to more abstract, where color plays a metaphorical role, rather than just reproducing the real world. The article focuses on the meaning of color and light in painting, particularly their interaction, which determines the color of the work. It is found that color in fine art creates visual reality and has a deep symbolic meaning, capable of conveying the artist's emotional state and conceptual ideas. The study also examines the role of light in the context of chiaroscuro, emphasizing how light and shadow interact to create the atmosphere of a work and enhance its expressiveness. Overall, the study presents a comprehensive analysis of still life as a genre in fine art, particularly in its historical changes, symbolic load, and the evolution of artistic techniques and expressive means, such as color and light. | uk_UA |
| dc.language.iso | en | uk_UA |
| dc.subject | still life | uk_UA |
| dc.subject | painting | uk_UA |
| dc.subject | color | uk_UA |
| dc.subject | tone | uk_UA |
| dc.subject | genesis | uk_UA |
| dc.subject | fine art | uk_UA |
| dc.title | Genesis and features of the still life genre in fine art | uk_UA |
| dc.type | Article | uk_UA |
| Розташовується у зібраннях: | Статті (КМД) | |
Файли цього матеріалу:
| Файл | Опис | Розмір | Формат | |
|---|---|---|---|---|
| Близнюк Т., Мандрикова М.., Майстренко О._стаття.pdf | 320,98 kB | Adobe PDF | Переглянути/відкрити |
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