The article discusses theoretical conceptions of V. Kandinsky to create graphical and picture compositions, expressed in his “Point and Line to Plane”. It is proved, that Kandinsky constituted the system of principles of the construction of artistic compositions, that supposes extreme spatial complexity, and that creative methods and means described by him, viewed through the fractals theory, assign programs and algorithms of fractal multitudes. The fractal character of the pictures and graphics is seminal for maximized impact on the viewer. Algorithms and mathematical models of creativity, declared by Kandinsky as its strategy, are possible only as fractals in art.

Despite of almost 500 years of attempts to determine the subject of Giorgione’s “The Tempest” the specialists still fail to arrive to the common opinion about it. Yet there is no common trend in interpreting the painting. The article is dedicated to the analysis of several versions of reading this piece of art with due regard to the native and foreign traditions in art studies. There is a subdivision of those versions for “subject” type (S. Settis, E. Motzkin, M. Calvesi, N. Beloussova,) and for “concept” type (P. Vescovo, T. Sonina, Y. Yaylenko). Special attention is drawn to the authors’ methods and approaches (iconography, iconology, comparative analysis, research of historical and social context).

The author analyses the origin of the phenomenon of monumentalization of a figure of the Italian poet Dante Alighieri, which took place in the XIX-XX centuries in Italy and has become a prerequisite for the appearance of a unique architectural projects performed in Italy of the 1930s based on the poem by Dante “Divine Comedy”. The author tries to prove that these architectural projects of Mussolini-era cannot be unambiguously linked to the fascist regime: the perception of Dante and his poem as a monument arose in the late XVIII century and has a close relationship with the movement for the independence of Italy.

The article deals with the sound features of films by French director Robert Bresson. Intraframe and offscreen music, noise and speech are investigated in the context of the author’s unique style and aesthetic principles of the master, developed and improved throughout his creative life. Methodological basis for the analysis were some of the ideas of Maurice Merleau-Ponty, the French philosopher of the phenomenological-existential direction. The study revealed a decisive role of director’s aesthetic localization in the audiovisual decision of the film. The sound side of Bresson films evolves from the expressed affectivity to the visual ontology.

The article covers such subjects as prerequisites and circumstances for the Milanese Scapigliatura to be shaped as a social-political and artistic informal group of the Italian intellectuals in the end of 19th century; influence of some trends of European national culture and arton Scapigliatura esthetics; its importance for the art of 19th century.

Article is devoted to the analysis of ways of designing an identity by the hero in the movie of Alexander Ptushko “New Gulliver” and features of interaction of the person and a puppet, as representatives of the contiguous worlds, in the Soviet cinema of the 1930s. The problem is considered from historical and theoretical prospective, and resume of the article could correct an idea of function of the puppet in the cinema. The authorused archive materials not published before. The epitext’s elements were attracted to the analysis of the central image of the film by Ptushko for the first time in a natural cinematology and contextual links of the movie “New Gulliver” with world film process are designated.

The article deals with the process of forming the Renaissance space reception of the screen in the middle of 1910s after the decline of the unique receptive system - the life-size reception inherent to the cinema of 1900s. The pecularities of the intermediate system also is discussed.

This article analyses the various monumental compositions “Christin Majesty” or “Majestas Domini” of VIII-XII centuries. The author compares the monumental compositions with illuminated liturgical manuscripts of the time and with texts of the Eucharistic prayer of the Roman Canon of the Mass. The author substantiates hypothesis about the dominance of the liturgical sense in considerated iconographic scheme widely used in the XI-XII centuries for decorate portals and apses of Romanesque churches, arguing that the interpretation of their programs can be correct only taking into account the liturgical meaning of this image.

The article considers mask motif in Byzantine and Western medieval art looking through a prism of parallels and prototypes in antiquity. A special attention is given to masks framing images of Evangelists on the medaillons in the church of the Virgin Pantanassa in Mistra (1428). There are no direct analogy for its interpretation and iconography in the context of temple painting in Byzantine or Western medieval art, though its archetype can be traced back to antiquity. It can be found in antique imagery of masks and personifications which got the new life in Byzantium during the periods of revival of special interest in antiquity, acquiring new gradations of meaning in Christian art.

The author of the article attempts to apply research tools of Umber-to Eco (“M-spectator” by analogy with “M-reader”, open and covered text, the concept “discontinuity”) for the analysis at the performances by Yury Pogrebnichko. The hypothesis is that the performances “An Actress is Needed to Play a Dramatic Part (The Forest)” and “The Last Concert of Alice in Wonderland” are examples of open texts on stage.

Article is devoted to the description of key aspects of a deontologization of cinematographic material - such transformation in the ontological content of the fixed, after what connection between it and its screen form loses completeness of ontological conformity.

The article deals with the ornamental patterns used in of the Kariye Camii (1316-1321) and the Fethiye Camii (c. 1315) in Constantinople, as well as the Church of the Holy Apostles in Thessaloniki (1310-1314).The study considers parallels between these motifs and the ornamental patterns which were popular in late antiquity and Early Christian period. The focus of much attention is the mosaic decoration of the Church of the Holy Apostles that is rendered with vivid realism and represents a high interest in antique heritage.