“Secreta Artis” (“Art Secrets”), the academic and methodological journal devoted to issues of art and art teaching methodology, aims to revive the best traditions of fine art, re-create and build on the classical system of fine arts education. The academic journal focuses on investigation in the field of theory, techniques and technologies of the visual arts as well as publications devoted to methods and systems of art education. In the past, when the fine arts flourished, practical experience was passed on by word of mouth from masters to students. Today we lack such expertise, since bearers of professional secrets are no longer with us. This explains why “Secreta Artis” authors conduct research to contribute to the body of such knowledge, analyzing archival documents, material from the restoration and science labs, testing theory through its application, etc. “Secreta Artis” acquaints readers with a variety of fine art techniques: oil, watercolor, tempera, pastel, fresco painting, drawing, etching, sculpture, mosaic, stained glass, jewelry.
“Secreta Artis” is interested in collaboration with Russian and foreign artists engaged in similar research, development of educational programs and teaching methods. We invite cooperation with restorers and experts in the field of the examination of works of art.
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VISUAL TEACHING AIDS
REFLECTIONS ON THE ARTIST
TEACHER'S WORKSHOP
This article examines one of Sergey Andriaka’s favored floral compositional subjects: the still life with a bouquet of lilacs. The artist developed two principal types of this motif. The first, widely appreciated among admirers of his work, is the “carpetlike” composition; the second is an intimate still life featuring one or several lilac branches arranged in a vessel. The general principles underlying Andriaka’s approach to the lilac still life include a deliberate and structured orchestration of movement and rhythm in the branching forms, blossoms, and leaves; a skillful grouping of tonal and chromatic relationships among the elements; a convincing rendering of the complex textures of the inflorescences; the use of contrasting silhouettes of flowers and foliage; and professional handling of the bouquet’s overall volume. In creating his watercolor lilac still lifes, the artist employed a range of techniques for depicting flowers, leaves, and background—from minimal layering in the lightest areas of the blossoms to richly built-up, multilayered backgrounds.
HISTORY & PHILOSOPHY OF CULTURE & ART
Museum collections across Russia have brought to light a group of portraits executed by Hieroschemamonk Gabriel (Spassky) of Optina Pustyn’ in the mid-nineteenth century. The creation of these works constitutes one of the most significant episodes in the development of a rare and little-studied phenomenon: lifetime portraiture – executed, in certain cases, from life – of eminent representatives of monasticism. The authorship of the Optina painter can be established on the basis of his signatures on the reverse of the canvases, the provenance of the works, painterly manner, and material evidence. It is also possible that certain images were produced in the monastery workshop by collaborators of Father Gabriel. A portrait of Saint Leo (Nagolkin), discovered in a private collection, may be attributed to Gabriel (Spassky) on the grounds of its iconography and painterly execution. It is evident that some portraits by this master served as models for engravings and lithographs. Several graphic works have been identified that further augment the iconography of Starets Leo.
