Contribution of spanish artist Pablo Picasso into development of graphics

Pablo Picasso belongs to the creators of modern Western culture in the first half of the 20th century. He has the same recognition and popularity as the writer J. Joyce, architect Le Corbusier, composer I. Stravinsky, actor Ch. Chaplin without whom the culture of that period is not imaginable. Picasso has been successfully working in painting, applying various graphical techniques, making sculptures, performing in monumental painting, making theatre decorations, making and decorating ceramics, writing plays, poems, stories, and being an outstanding drawer (Conzen, 2005). Pablo Picasso has left significant traces in the history of art, to a large extent he has been one of the key figures in the processes determining what the modern of art of that specific period should be. Picasso has influenced many artists directly or indirectly – the followers of Western schools and local artists in Latvia. The key topic of this research is graphics, having deeper analysis of the creative works of Picasso the author has chosen to explore Picasso as a graphic artist who excelled in such graphic techniques as flat printing (lithography), deep printing (etching, engraving, aquatint, mezzotint, dry needle ), letterpress printing (wood carving, woodcut, linocut) and others. The artist has been noted by an extremely variable manner – it was typical for him start each new work as individual entirety experimenting with graphical forms, colors, textures, lines, volumes, playing with the contrasts of light and dark and emotional atmosphere. Picasso has applied the elements of his arsenal in diverse variations: compositional schemes and proportions. Creating pieces of art Picasso revealed the technical and visual lexis typical only for him. Picasso has left many works in the linocut technique. It cannot be asserted for sure that Pablo has invented this technique, but he has tried to master all possible ways provided by this technique devoting numerous hours to it. Colorful linoengravings created in the 1960s are considered to be small masterpieces in the history of the world art. Technical means applied in this graphical technique ensure a great generalization degree of a graphical image. Works done in linocut concentrate great, expressive power, express the intensity of searches for content and form. The live process of the linocut technique is vivacious, changing, with its own development and mutual symbiosis are felt. Picasso has left permanent footprints in the art history, has been one of the most significant artists in the processes determining what the modern art of that time should be. Picasso’s contribution into the development of art is irreplaceable and is not completely estimated. Picasso has influenced many people – his contemporaries, modern followers of Western schools, and also the artists here, in Latvia. Picasso’s contribution into the development of graphics is irreplaceable from the view of history of culture. The artist has left many works in the linocut technique, colourful lino-engravings created in the 1960s; in the history of world art there are considered to be masterpieces. The aim of the research: to describe the artistic contribution of Picasso into development of graphics and to analyze his contribution into the linocut technique. The methods of the research: exploration of theoretical literature and Internet resources. The theoretical background of the research: Ikšelis, A. B. (2010), Conzen, I. (2005), Kačalova, T., Pētersons, R. (2005), Židels, A. (2002), Žilo, F., Leiks, K. (1991), Эренбург, И. Г., Алпатов, М. В. (1967)

THE CREATIVE INFLUENCE OF PABLO PICASSO ON THE WORKS OF LATVIAN ARTISTS

Pablo Picasso is one of the Western modern culture creators of the first part of the 20th century. Picasso has influenced numerous artists directly or indirectly – both the followers of Western school and artists here, in Latvia. The main topic of this research is Pablo Picasso's influence on Latvian artists, specifically – Visvaldis Ziediņš, Rūdolfs Pinnis and Aleksandrs Dembo. Picasso stands out for exceptionally virtuosic style – it was characteristic of him to begin each new work as an individual wholeness, experimenting with graphic forms, colours, textures, lines, volumes, playing with relations of dark and light and work's emotional atmosphere. Similarly, in the works of all three artists, the experiments with graphic forms and textures and virtuosic plays with relations of dark and lights and emotions are perceptible. Sharp sense of epoch, refined means of expression, depth of thinking, pictoriality, freedom of inspiration, nonconformity, intellectually difficult practice, lyrism, lightness and looseness, expressivity, spirituality – this is the common denominator of the artists – V. Ziediņš, R. Pinnis and A. Dembo. For all these prominent artists, Picasso’s creative work was not an object of imitation, but rather a launch pad to start acquiring the experience they were fascinated by. Research aim: to characterize creative work of the great Spanish artist Pablo Picasso and analyse his creative influence in the works of Latvian artists. Research methods: theoretical: the analysis of the study fields literature and internet resources

Description of Stalin’s Period Architecture in the Soviet Union

In the history of architecture a majority of researchers chronologically distinguish the term “Stalin’s architecture” from the mid 1930’s to the mid 1950’s. However, the author of the article has chosen the period from the 1950’s to 1960’s because in the further research the selected object shall be the Centre of Culture and Education in Rezekne (former cinema “Zvaigzne”) which was launched only in 1957 and which is an outstanding example of socialistic realism of that time in the architecture of Latvia. The article deals with the implementation of the totalitarian system and its ideology in architecture. The article does not provide detailed and multifaceted analysis of totalitarism – its aim is to explore and analyse the brightest samples of architecture in Moscow, the capital of the Soviet Union, and the Soviet Socialistic Republic of Latvia in the 1950’s and 1960’s during the period of socialistic realism. The methods applied in the research are based on the exploration of scientific and publicistic materials revealing the evidence of the respective period in architecture

DESIGN OF AN INTEGRATED ARTS CATALOGUE “STILL LIFE” FROM THE COLLECTION OF LATGALE CULTURE AND HISTORY MUSEUM

Museums of the world store countless artistic values, which are predominantly located in secure storages, looked after and cared for by museum staff. The museum as a democratic institution in the modern situation wants to be the mediator and unifier of communities, making the cultural and historical values available in their collections accessible to people with special needs, including those with vision impairments, thus widening their circle of visitors. The aim of the article: Study the importance of tactile perception in ensuring accessibility of artistic works to people with vision impairments and analyse the acquired results of the arts catalogue “Still Life” supplemented with tactile images usage in the museum educational programs. The research results were obtained using theoretical research methods: study, analysis and assessment of scientific and journalistic literature, which reveals the essence of the problem, as well as the reflection of personal experience.

ADVERTISING CATALOG AS A SOURCE OF INFORMATION

The modern catalog is a tool for persuading and conquering customers. Consequently, the design and quality of contemporary catalogs and brochures are given a great deal of attention – it is a tool that gives the customer a complete idea about the company's operations, the goods and services offered, the customer is convinced that the company is better and more interesting than its competitors.The aim of current article: to study and analyze catalog types and formats, printing trends and printing technologies.Research methods: theoretical: research and analysis of literature related to the industry and Internet resources

GRAPHIC DESIGN OF THE VISUAL COMMUNICATION OF THE EXHIBITION OF THE VILAKAS COUNTY MUSEUM

Communication is a conversation, communication, the way information is provided. The museum's exposure language must be aesthetic, informative, cognitive process and memory stimulation.The designer, who designs and offers museum–oriented and up–to–date design solutions, plays a major role in solving the issues. The designer, in collaboration with the museum's staff, should prepare materials and programs for the society that are in line with the museum's goals and objectives and which society would also consider worthwhile. The authors of the article have learned the wishes of the director of Vilakas County Museum and information about the graphic design requirements of ergonomic visual communication have been gathered, and the school history of the Vilakas County Museum has been developed.The purpose of the article is to study the materials necessary for the exhibition of the Vilakas Region Museum and testimonies, information on visual communication in museums, analysis of interactions between graphic design and visual communication, as well as to analyze the visual design of the graphic design for the Vilakas Museum exposition on the history of regional schools.Research methods are the study of literature and internet sources and analyzes the opinion of the director of the museum

CORPORATE IDENTITY DESIGN POLICY IN THE PROCESS OF VISUAL COMMUNICATION

The term corporate identity describes the essence of a company, a set of all the characteristics that make up the company. The company SIA “Nature Line” mentioned in the article, which started its operation as a start-up in the food production industry through the Rēzekne Business Incubator start-up programme, put forward as one of the company’s principal aims to promote the recognition of the company and its products to ensure broad opportunities for product export. One of the objectives for reaching the aim is to create a corporate identity design. A corporate identity design will help the company to start advertising and positioning itself to customers, thus promoting successful company operation. Considering the changing trends, technological opportunities, popularity of the start-up field, and rapid development of visual communication in the modern day, in the article the authors justify the relevance of the chosen topic. The research problem is the lack of understanding on the part of start-ups about the importance of designing a corporate identity for ensuring successful operation of the company as well as insufficient support. The research aim is to explore modern corporate identity development trends in the context of design policy and to analyse expert interviews in order to find out the opinion of experts about the importance of creating a corporate design for ensuring successful operation of a star-up company, about the trends in the graphic design of corporate identity, about the most important elements and their successful positioning. The research results are obtained using the theoretical research methods: the study of scientific and journalistic literature and internet resources, analysis and evaluation, which discover the essence of the problem, as well as expert interviews, which are empirical research methods.

CORPORATE IDENTITY DESIGN IN THEORY AND PRACTICE

The aim of the article is to work out conception of the corporate identity design of Rezekne Academy of Technologies, having investigated the corporate identity design as the organization’s business card in the context of society. The article consists of an introduction, two parts and a conclusion. The introduction describes why the topic is actual, states the aim of the article and methods of investigation. The first part summarizes and analyzes the information about a corporate identity design. The second part describes the procedure of working out of the conception of the corporate identity design of RAT.The methods of research: theoretical – investigation and analysis of relevant literature, internet sources and regulatory documents. Empirical – methods of data collecting: group discussion; methods of data processing: comparative analysis, content analysis.

ARTS DOMINANCE IN CALENDAR GRAPHICS DESIGN

Art, in a way, is a form of communication, which allows the artist to express their view to the world, show their interpretation and let others see the world through the eyes of the artist. Calendars are the most popular and long-term means of advertising, which is why their design requires a lot of attention. It is important that it does not only look good, but also provides information, fulfils the function of a promotional souvenir and creates an image throughout the entire year ahead. Graphic design is a form of visual communication whose purpose is to solve visual and graphic problems using artistic approaches provided by typography, different printing technologies, or image processing techniques, mechanical or analogue methods, or digital, with the aim to create a graphic design work or solve a graphic problem. Graphic design is more like a visual intermediary between the message and its recipient and a way of delivering the message to the recipient. The Aim of the Article: study graphics as the dominant feature of art in the design of calendars created by modern Latvian artists and analyse expert interviews to find out the opinions of specialists in the field about the significance of the content and design of artistic calendars nowadays. The research results were obtained using theoretical research methods: the study, analysis and evaluation of scientific and journalistic literature and Internet sources, which reveals the essence of the problem in question; expert interviews were carried out as well, which are empirical research methods.

GRAPHIC DESIGN OPPORTUNITIES FOR INTEGRATED APPROACH IN MUSEUMS IN REPRODUCTION OF ART TREASURES

Latest tendencies in museum accessibility, both in the world and in Latvia, show that the social status of museums is changing from a cultural institution for a narrow circle of interested persons to a meeting place open to society, accessible both intellectually and physically to different social groups. The research aim is to study the opportunities for the use of graphic means to disclose and give access to the collection of artistic property of Latgale Culture and History Museum (LCHM) to persons with vision impairment. With the information summarised, the authors invite to use the opportunities of graphic design and technologies in the creation of art reproductions, making the graphic image of the painting perceptible by touch, i.e. tactile, and thus accessible to persons with visual impairment. The novelty of the research on the scale of Latvia will be a supplement of tactile images to the album of the collection of art reproductions of LCHM, which includes tactile graphic images and corresponding descriptions in Braille for persons with vision impairment. At this stage of the research, empirical methods were used – interview and practical activity.The aim of the research: Study and research graphic design opportunities for the integrated approach in museums in the reproduction of existing art property to ensure its accessibility to persons with vision impairment, analyse the needs of the visually impaired in cooperation with societies and organisations in Latvia and design a scheme of practical activities for persons with vision impairment