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ICONOGRAPHY AND ARTISTIC-IMAGERY FEATURES OF THE VIRGIN ICONS IN CONTEMPORARY ICON PAINTING OF GALICIA

Humanities science current issues
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On Icon Painting

Art in Translation, 2013
AbstractWritten around 1700, at a moment when Russian art was facing increasing secularization as well as the introduction of Italian and German post-Renaissance approaches, this treatise facilitates understanding of the Russian debates in religious aesthetics.
Evfimy Chudovsky, Jeremy Howard, Albina Ozieva, Vladimir Semakov   +3 more
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‘Left’ and ‘Right’ in Icon Painting

Semiotica, 1975
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On Late Northern Icon Paintings

Secreta Artis, 2022
Рецензия на книгу: Кольцова Т. М. Церковная живопись Архангельской губернии второй половины XVIII - начала XX века: История, памятники, мастера. СПб.: Дмитрий Буланин, 2020. 432 с. [текст, ил.], 80 с. [цв. вкл.].
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On the Prehistory of Cretan Icon Painting

Frankokratia, 2020
Abstract The present paper offers some thoughts on the complex issue of Italianate elements in Cretan icon painting by emphasizing the extent to which they can be considered to stem from motifs worked out in the mid-to-late fourteenth century in the wider, fluid space between Venice and the Eastern Mediterranean.
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Nikon and Avvakum on icon-painting

Revue des études slaves, 1961
Andreyev Nicolay. Nikon and Avvakum on icon-painting. In: Revue des études slaves, tome 38, 1961. Mélanges Pierre Pascal. pp. 37-44.
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WAYS OF THE DEVELOPMENT OF ICON PAINTING IN THE SLOBOZHANSHCHINA

Культурное наследие России, 2021
Рассматриваются особенности формирования слобожанской иконописи, неразрывно связанные с историческими, политическими и экономическими процессами. В XVI - XVII вв. Слобожанщина сложилась как военно-политическая территория, а с XVIII ст. как крупнейший культурный, торговый, промышленный, научный, образовательный регион Российской Империи.
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The poem as icon of the painting

2010
The focus of this paper is to investigate the poetic expression of a painting as it is transposed into a poem. Such an interaction between the verbal and the visual text results in what Simonides of Ceos describes as “poema pictura loquens, pictura poema silens” — the poem is a speaking painting, the painting is a silent poem.
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