No abstract

The creative work of the Hungarian theoretician and artist Laszlo Moholy-Nagy has recently become an object of reevaluation and scrutinous investigation. Laszlo Moholy-Nagy is also considered one of the forerunners of conceptual art. In a way, he also foresaw the "visual turn" of culture, which she made at the beginning of the 21st century, and he viewed his works in part as "exercises" in vision for a person of the future. Although today it is obvious that the art of L. Moholy-Nagy had a significant impact on the work of contemporary artists, a detailed analysis and understanding of the essence of this influence still remains insufficiently studied. In the development of his artistic method, L. Moholy-Nagy constantly evolved, moving from painting to photography and further to film works. The research explores the representatives of certain types of art in the work of Mohoy-Nagy. A detailed philosophical and art history analysis of the artist's photograms – works created in painting with light (light painting) is carried out in the research. Although the connection between Moholy-Nagy’s art and the artistic practice of the present day has been acknowledged the detailed analysis of the influence of Moholy-Nagy’s ideas on contemporary artists is still in great demand. The aim of our research is to understand the intermedial concept of Moholy-Nagy’s creative activities by means of the analysis of paintings, photographs, photograms and films produced by the artist. Our research is based on the modern theory of art as a mode of communication. The methods of our research include the conceptual, hermeneutic and comparative analysis. The methodological foundations of the research include the conception of the philosophical and art historical analysis, developed and proposed by V. I. Zhukovsky and N. P. Koptseva, which involves the appication of general scientific methods (measurement, analysis, synthesis, interpretation, analogy, etc.) to understanding the meanings of art works. As a result of our research we have revealed the meanings of Moholy-Nagy’s works of art and described their influence on the American, Hungarian and Russian artists of the twentieth and the twenty-first centuries.

The article discusses several works by Mark Zakharovich Chagall, created in the first Parisian period and in Vitebsk. The choice of works connected with the purpose of studying the relationship with the world-famous native painter and poet. The Parisian works presented by «Birth» (1911) and «Self-Portrait with Seven Fingers» (1913) give a self-reflection idea of one's own destiny and the author's personal mythology construction. Also attracted one of the large Vitebsk paintings by Marc Chagall – "Over the City" (1914-1918), left by him in Russia before his emigration. In this work, the attitude to the motherland is concentrated, carried by him in many ways through all the subsequent years of creativity.

The object of this scientific research is art criticism in art magazines, the subject is the text of art criticism as a tool for solving problems of the relationship between a work of art and the viewer. The aim is to study journal art criticism as a tool for solving problems of the relationship between a work of art and the viewer. The analysis of the concepts of "art criticism" and "critical texts about art" is given in order to understand the essential features of art criticism and the specifics of its texts. The conceptual basis for the study was the key provisions of the theory of reflection by G.V.F. Hegel, the basic principles of the synthetic theory of the ideal D.V. Pivovarov and the concept of ideal formation, the main provisions of the theory of fine art by V.I. Zhukovsky and N.P. Koptseva.

The object of this scientific research is art criticism, the subject is the interaction of the addressee of art criticism and a work of fine art. The aim is to study the relationship between the addressee of art criticism and a work of fine art. The conceptual analysis of the concept of "art criticism" is given, the features and structure of the text of art criticism are considered. The conceptual basis for the study was the key provisions of the theory of reflection by G.V.F. Hegel, the basic principles of the synthetic theory of the ideal D.V. Pivovarov and the concept of ideal formation, the main provisions of the theory of fine art by V.I. Zhukovsky and N.P. Koptseva. A peculiar result of scientific research is the fixation of the characteristics of various addressees of the text of art criticism ("viewer" and "artist") and the specifics of their relationship with a work of fine art through the study of the text of art criticism