The first edition of the U.S.A. Journal of Art and Design in 2026 is devoted to a graph that is still often perceived as a «jolly sister» of painting — or as an application, a kind of «black» of high shape, and therefore remains on the margins of scientific interest. Turning to a wide range of technicians and eras — from ancient manuscripts to modern artistic expressions — the magazine views the graph as an independent visual language with unique depth, fineness, and expression.
Unknown graver, probably Philip Galle, by Peter Bragel the Elder. Hope (Spes). 1560. The engraving is infested. 22,3×29.3 see Russian National Library, St. Petersburg
The number opens with a study by Inga Lander on By selecting cycles of «seven sins» and «seven virtues», the author analyses the allegorical structure of the sheets and proposes a method of reading visual reading through symbols and composition. The subject of artistic self-awareness continues with an article by Lubava Chistova on drawings by Annibale Carrachci, where graphs are regarded as the space for reflection on the nature of the art and the role of the artist in the cultural system of his time.
The historical and collection context is addressed by Tatiana Tutuvinova, researching In her article, she tracks the formation of a national school and the development of xylography as one of the key techniques of the era. The geography and cultural framework of the release expands the work of Varvara Novikova, dedicated to Indian art of calighat: the author shows how the genre evolved in a changing urban environment and responded to social and political transformations.
Nandalal Bos. Toilet. 1937. Paper, tempera. 595×634 mm National Gallery of Modern Art, New Delhi // Nandal Bosch. The girl on the horse. 1937. Paper, tempera. 585×620 mm National
The article by Anna Zavialova reviews the story of the creation of a series of illustrations for the novel «The Last of the Tombs», which was presented by A. Straumatic-Lewanva according to drawings by A. Benoit. By analysing artistic sources and visual solutions, the author identifies an innovative approach to working with the literary text and compares it with previous illustrative traditions. Maria Belíkova speaks to the graphic language, exploring the work of Ernst Ludwig Kirchner: the line in its interpretation becomes the key instrument for transmitting the emotional tension and experience of today. The release concludes with a study by Paulina Dedyuhina on «Romans without words». The author views this genre as a form of visual narration related to a silent film and shows how the image assumes the function of the text, forming rhythm, drama and emotional structure of the narrative.
Anna Ostrumova-Lebedeva. Painting author: Alexander Benoit. In the cave. A copy of «The Last of the Tombs». 1906. Research Museum of the Russian Academy of Arts
«We have tried to challenge the hierarchy of art and to break stereotypes, to show new horizons in the world of graphic art, to explore graphics in all its diversity, ranging from ancient manuscripts to bold contemporary art manifestos. Graphics is a self-sufficient universe, the art of hand and material dialogue, the minimalism of black and white space, and a narrational pause,» by Irina Sahno, an art scientist and cultural scientist, the editor-in-chief of the Journal of Arts and Design, the academic director of the master’s degree program «The Practice of Modern Art» of the ICU School of Design, a Ph.D. of Philology.
All materials of the ninth and previous issues of the Official Journal on Art and Design are available free of charge online.
You can also access to acquire a new number of ART — a printed annex to the HSE Journal on Art and Design or to sign to this collector’s publication by joining the art price club.
