COMING OF AGE: RUSSIAN ART HISTORY AS A PROFESSIONAL DISCIPLINE IN THE 1910s-1920s 1

Experiment ◽  
1997 ◽  
Vol 3 (1) ◽  
pp. 7-13 ◽  
Author(s):  
BORIS MIKHAILOV
Keyword(s):  
Art History ◽  
Coming Of Age ◽  
Russian Art ◽  
Professional Discipline

Non-Euclidean Geometry in Russian Art History: On a Little-Known Application of a Scientific Theory

Leonardo ◽  
2020 ◽  
Vol 53 (3) ◽  
pp. 293-298
Author(s):  
Clemena Antonova
Keyword(s):  
Twentieth Century ◽  
Art History ◽  
Scientific Theory ◽  
Euclidean Geometry ◽  
Human Vision ◽  
Russian Mathematician ◽  
Pictorial Space ◽  
Russian Art ◽  
Non Euclidean Geometry ◽  
The One

The author has previously proposed that there are at least six different definitions of “reverse” or “inverse” perspective, i.e. the principle of organizing pictorial space in the icon. Reverse perspective is still a largely unresolved art historical problem. The author focuses on one of the six defi nitions, the one least familiar to Western scholars—namely, the view, common in Russian art-historical writing at the beginning of the twentieth century, that space in the icon is a visual analogue of non-Euclidean geometry. Russian mathematician-turned-theologian and priest Pavel Florensky claimed that the space of the icon is that of non-Euclidean geometry and truer to the way human vision functions. The author considers the scientifi c validity of Florensky's claim.

scholarly journals GIOTTO IN RUSSIAN POETRY: NEGATIVITY, DESIGN AND CONSTRUCTION OF SOCIETY

2020 ◽  
Vol 18 (1) ◽  
pp. 170-181
Author(s):  
Alexander V. Markov ◽  
Keyword(s):  
Art History ◽  
Russian Literature ◽  
Careful Analysis ◽  
Russian Philosophy ◽  
Russian Art ◽  
Old Russian ◽  
Real Place ◽  
Russian Poetry ◽  
History Of ◽  
Writing Practice

The perception of Giotto’s heritage in Russian literature and culture has always been directly linked not only with the concept of the Renaissance and the development of Western culture, but with a special interest in writing practice and in the ambition of the narrative presented as innovative style to create communities. The main topic of the poetic thought was the transition from community to society, in other words, from community to church, so Giotto's status as a genius was always supported with statements about other geniuses who directly, but rather indirectly, made this transition. Despite the scarcity of references to the name Giotto, Russian poetry did not so much reflect the current art history conception, but anticipates or correctsconclusions of art historians. My careful analysis of the statements about Giotto in Russian poetry (V.Komarovsky, S.Soloviev, A.Voznesensky) in comparison with the conclusions of Russian philosophy and humanities (P.Florensky, P.Muratov, P.Bitsilli, V.Lazarev)explains plots of the poems related to picturesque impressions. The technique of chiaroscuro in Giotto, who first began to convey plausible depth through the illusory distribution of light, was understood as a technique primarily of hint and reflection, anegative, in comparison with which later Italian painting looks like a colorful positive. Such concept did not correspond to Giotto's real place in the history of art, but it did make it possible to correlate Giotto with Byzantine and Old Russian art using a golden background, emphasizing in the legacy of the Italian artist not credibility, but ability to create own art project relevant other projects.

scholarly journals «На острове Патмос»: отшельник С.И. Калмыков

2021 ◽  
pp. 76-87
Author(s):  
T.G. Chudinovskaya
Keyword(s):  
Cultural Studies ◽  
Art History ◽  
Interdisciplinary Approach ◽  
Work Of Art ◽  
Religious Images ◽  
Russian Art ◽  
Avant Garde ◽  
Saint Petersburg ◽  
Cultural Field

The article is devoted to the work of Sergei Kalmykov, a Russian artist, illustrator, decorator, and writer. His art career started in the 1910s in Saint-Petersburg and later he called himself as “the last avant-garde of the first draft”, being aside of the mainstream of the development of Russian art. His free art was like a diary, like an endless dialog with himself. Each of his paintings from this monologue is a fragment tear out from one whole. The author interprets the painting “On the Island of Patmos” on the basis of an interdisciplinary approach that combines the principles of art history, cultural studies and mythopoetic analysis of a work of art. The study shows how complex his 'web' of creating thinking is and how it unexpected and deeply intertwined in one cultural field with other artists (Velimir Khlebnikov, Robert Lax) and even with religious images of almost two thousand years ago (John the Theologian). Статья посвящена творчеству Сергея Ивановича Калмыкова, русского художника, иллюстратора, декоратора, писателя. Начав свой творческий путь в 1910-е годы в петербургской художественной среде, он впоследствии сам себя называл «последним авангардистом первого призыва», оказавшись на задворках главенствующей линии развития отечественного искусства. Его свободное творчество представляло собой форму дневника, бесконечного одинокого разговора с самим собой. Каждая его картина из этого монолога — вырванный фрагмент из одного целого. На основе междисциплинарного подхода, сочетающего искусствоведческий, культурологический и мифопоэтический принципы анализа художественного произведения, автор статьи интерпретирует картину «На острове Патмос». Исследование демонстрирует, как сложна «паутина» творческого мышления, нити которого ткутся посредством художественного сознания и переплетаются самым неожиданным образом в общем культурном поле с другими творческими судьбами (Велимир Хлебников, Роберт Лакс) и даже с религиозными образами почти двухтысячелетней давности (Иоанн Богослов).

scholarly journals Parsuna – the first secular representation of the traditional Russian icon

2019 ◽  
Vol 2 (3) ◽  
pp. 1
Author(s):  
Takushinova Bella
Keyword(s):  
Art History ◽  
17Th Century ◽  
Church History ◽  
Transitional Period ◽  
Spiritual Life ◽  
Byzantine Empire ◽  
Russian Art ◽  
15Th Century ◽  
Cultural Life ◽  
The Way

The second half of the 15th century in the Russian Church history marked a strong decline of spiritual life, which naturally found its reflection in the icon painting. The feeling of integrity of an image, its depth were lost. At the same time, the weakening influence of the Orthodox Balkans and the Byzantine Empire gave way to the influence of the Catholic West with its profoundly different principles of religious art.In this transitional period of the Russian cultural life, characterized by the transformation of the medieval worldview and the formation of new artistic ideals, appeared parsuna (a rough Russian transliteration of the Latin word “persona”) - an early secular portrait of a lay person in the iconographic style that represents an important transition in Russia’s art history. The first pasruna were painted, most probably, by the iconographers of the Moscow Kremlin Armoury in the 17th century. The painters of these portraits were usually monks that tended to be anonymous, showing a humility.Although the stylized forms used in parsuna reveal a lack of concern with preserving the actual features of a person, but rather their overall image (special attributes and signatures allow to define represented), it still can be viewed as one of the very first attempts to look at person not only through the rigid iconographic canons, but also through a prism of psychological interpretation. Thus, this transitional image may be concerned as the initial fundamental step on the way to the further introduction fo the European portrait tradition in Russia.In this study, we would like to consistently trace how parsuna, thanks to its completely new stylistic value, can be considered one of the earliest stages on the way to the secularization of the Russian art in the early 17th century, which led to the separation from the strict iconographic religious canons and, consequently, to the rapprochement with the European art.

scholarly journals Symbolism in the Russian visual art in the era of Art Nouveau: analytical overview in the light of latest research

2021 ◽  
pp. 10-24
Author(s):  
Olga Sergeevna Davydova
Keyword(s):  
Art History ◽  
Visual Art ◽  
Individual Characteristics ◽  
Art Nouveau ◽  
Scientific Publications ◽  
Russian Art ◽  
Art And Culture ◽  
History Of ◽  
Humanistic Knowledge

The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications (that cover over a century), and works of the Art Nouveau authors stored in the museum funds, many of which after 1917  appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture.

scholarly journals The formation of the art of socialistic realism in Mongolia: the main stages, the role of the Russian art school

2021 ◽  
pp. 170-187
Author(s):  
Д. Уранчимэг ◽  
Ян Гоу Чин
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Fine Arts ◽  
Socialist Realism ◽  
Buddhist Art ◽  
Russian School ◽  
Russian Art ◽  
History Analysis ◽  
Art School

Статья посвящена стилю социалистического реализма в изобразительном искусстве Монголии. Выделены основные этапы становления и факторы его формирования: революционные события и утверждение идеологии социализма; поддержка нового направления правительством Монголии, а также влияние российской художественной школы. Показана роль Российской академии художеств, Института им. И.Е. Репина, Института им. В.И. Сурикова в обучении и передаче художественных традиций и навыков монгольским художникам. Отмечено своеобразие монгольского варианта стиля соцреализма, синтезировавшего приемы и методы российской школы живописи с народными формами художественного творчества и буддийским искусством; показана непреходящая значимость и востребованность данного стиля в современном искусстве Монголии. Охарактеризовано творчество ведущих монгольских художников, и проведен искусствоведческий анализ ряда произведений. The article is devoted to the style of socialistic realism in the fine arts of Mongolia. The main stages of formation and factors of its formation are highlighted: revolutionary events and the establishment of the ideology of socialism; support of the new authorities of Mongolia, as well as the influence of the Russian art school. The role of the Russian Academy of Arts, the I.E. Repin St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, the Moscow State Academic Art Institute named after V.I. Surikov in teaching and transferring artistic traditions and skills to Mongolian artists is shown. The peculiarity of the Mongolian version of the style of socialist realism, which synthesized the techniques and methods of the Russian school of painting with folk forms of art and Buddhist art, is noted; the enduring importance and relevance of this style in the contemporary art of Mongolia is shown. The work of leading Mongolian artists is characterized and an art history analysis of a number of works is carried out.

scholarly journals FERDINAND BARBEDIENNE’S BRONZE FOUNDRY PRODUCTS AND URAL MEAL CASTING ART. ON THE ATRIBUTION OF URAL CAST-IRON ARTWORKS

2020 ◽  
pp. 22-22
Author(s):  
Kseniya A. Gileva
Keyword(s):  
Cast Iron ◽  
Art History ◽  
Metal Casting ◽  
Museum Collections ◽  
The Urals ◽  
Russian Art ◽  
Metal Castings

The study discusses the attribution of several Ural cast-iron artworks. The authors of the model range of metal castings from Kasli and Kusa factories are still the least researched in Russian art history and, thus, the study appears to be very timely. The article considers connections between the model range of the Urals plants and the famous French bronze foundry of Ferdinand Barbedienne. Castings available on the antiques market and in Russian museum collections are analyzed comparatively. New names of authors of Ural metal casting models are introduced into scholarship.

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