Rekonstruktion des Ursprungs und Neudatierung zweier magischer Gemmen mit Hilfe einer Zauberzeichensequenz

2020 ◽  
Vol 147 (2) ◽  
pp. 153-163
Author(s):  
Kirsten Dzwiza

SummaryThere are only a few sequences of ancient magic signs known to us today that have been preserved on multiple artefacts. A previously unnoticed sequence of 17 signs on a gem in the Museum of Fine Arts in Vienna occurs with minor but significant variations on two other gems in the State Museum of Egyptian Art in Munich. The Viennese gem is dated to the 16th century and is documented as a drawing in a 17th century publication. The first Munich gem has been assigned to the Graeco-Roman period. The second gem, which, according to the inventory card of the museum, also belongs to the Graeco-Roman period, is published here for the first time. A comparative study of the three gems and the drawing has lead to a number of new findings, including the re-dating of the Munich gems.

2020 ◽  
Vol 17 (2) ◽  
pp. 164-172
Author(s):  
Anna E. Zavyalova

The article reveals and introduces into scientific circulation the previously unknown artistic source of Konstantin Andreyevich Somov’s early art – Jaspar de Isaac’s engraving “Narcissus”. There is traced the course of work with this one along with other art sources (works of European masters of the 16th—18th centuries depicting hunting scenes, paintings by Antoine Watteau, Jugendstil graphics), revealed the context of reference to it, and analyzed the stylistic features of including this source in Somov’s work on the watercolor “Rest after a Walk”. These tasks are addressed in the context of the role of artistic sources from the heritage of past eras in early works of Konstantin Somov. The topic’s relevance is determined by the fact that Jaspar de Isaac’s engraving “Narcissus”, made at the very beginning of the 17th century for a French edition of the “Imagines” by Philostratus the Elder, for the first time becomes the object of research as a source of Somov’s art. The scientific novelty of the work lies in the fact that for the first time it attempts to identify (basing on a combination of formal and contextual analysis), and to use a source from the artistic heritage of France of the beginning of the 17th century in the work of K. Somov on the themes of the 18th century. The reveal of the source — the engraving “Narcissus” by J. de Isaac — made it possible to reconstruct the artist’s work on the “Rest after a Walk”. The article examines not only the sketch for this work from the collections of the Pushkin State Museum of Fine Arts, but also the drawing “A Date” from the State Tretyakov Gallery. There is stated that it is a preparatory drawing for the watercolor “Rest after a Walk”, basing on the general iconography of the watercolor, sketch and engraving “Narcissus”. The author concludes that Somov’s appeal to the engraving by J. de Isaac was not conscious, it should be attributed to the phenomenon of artistic memory, and his probable acquaintance with it had taken place before the artist left for Paris in the autumn of 1897.


2018 ◽  
Vol 15 (6) ◽  
pp. 754-763 ◽  
Author(s):  
Natalia V. Gerasimova

The article is devoted to one of the Soviet State’s policy directions at the first stage of its existence, aimed at the preservation of cultural va­lues and the formation of museum art collections. The poorly studied question about the features of this policy implementation is revealed on the example of the TASSR (Kazan Province — before May 1920), where in the 1920s a whole network of museums was created; almost in each of them, an art department was organized. The appeal to this topic is relevant in connection with the opening of a large number of public and private museums, which face similar challenges, as well as the active scientific activities of museums to study their own collections, in the framework of creation of the State Catalogue of the Museum Fund of the Russian Federation. For the first time, the article introduces into scientific circulation a number of sources, on the basis of which the main directions of this activity, as well as the museums’ art collections themselves, are analyzed. In the TASSR, the interaction with the State Museum Fund (SMF) was carried out by the Department for Museums and Protection of Monuments of Art, Anti­quities and Nature, employees of which (P.M. Dulsky and P.E. Kornilov) were engaged not only in organization of the artworks’ transferring to museums, but also in their selection. The article states that, thanks to the SMF, the Central Museum of the TASSR had the most complete and valuable art collection, and an interesting collection was formed in the Kozmodemyansky District Museum, which was part of the Kazan Province until 1920. This study shows that the SMF was an important and effective mechanism for the implementation of state policy in the field of culture: its activities contributed to the creation of provincial museums’ collections, based on scientific principles and aimed at presenting the history of fine arts development.


1942 ◽  
Vol 32 (1-2) ◽  
pp. 92-106 ◽  
Author(s):  
M. Rostovtzeff

The square piece of linen cloth (pl. iv) which I propose to discuss in this note was acquired by V. S. Goleniščev in Egypt some years ago, and forms part of his splendid collection of Egyptian antiquities, which was subsequently incorporated into the Alexander III Museum of Fine Arts in Moscow, now the State Museum of Fine Arts. Years ago I reproduced and discussed it in a short paper (Monuments of Alexander III Museum of Fine Arts in Moscow iv, 1913, 149–153 (in Russian) and pl. xxiv in colour) in which I interpreted it as a military vexillum. My paper remained, however, unnoticed by students of military antiquities. For example, in 1923, so careful and well-informed a scholar as Kubitschek (P-W s.v. ‘Signa’ 2337 f.) in speaking of the inscriptions which appear on the vexilla, after quoting Cassius Dio xl, 18, and Vegetius ii, 13, says: ‘andere Bestätigungen haben wir nicht, und (fast darf man sagen: selbstverständlich) ist auch kein vexillum erhalten.’


Author(s):  
Elena I. Darius ◽  
◽  
Mikhail Yu. Shishin ◽  

Alexander Khudyashev is a sculptor, painter, teacher, organizer who played a prominent role in the artistic life of two Siberian cities - Tomsk and Barnaul in the 10–20s of the twentieth century. This article, based on the documents found, represents for the first time the main stages of his life and work, active participation in the All-Siberian Association of Artists «New Siberia». Until recently, very little was known about the life and work of this artist. The authors of the article, relying on archival materials, restored the biography of A. Khudyashev, in particular, more fully covered the Barnaul period of his life. On the basis of the documents found in the State Archive of the Altai Krai, the facts of the early years of the master's biography, the period of study at the Kazan Art School, and studies at private art studios in Moscow became known. The article describes his organizational work in Tomsk: on the board of the Tomsk Society of Art Lovers, participating in annual periodic art exhibitions, organizing a number of exhibitions («Exhibition of paintings and sculptures by local artists» and «Autumn exhibition of local and non-resident authors»). In Novonikolaevsk (now Novosibirsk), together with the assistant of the Leipzig Royal Academy of Arts, Czech artist F. Havelka, he participated in the preparation of the first in the history of the city art exhibition of Tomsk and Novikolaevsk professional artists and students of the Tomsk Real School and private studio F. Havelka. The pedagogical activity of the master is noted: in parallel with the creative and organizational work, Khudyashev taught sculpture in F. Havelka’s private drawing classes, drawing in the theological schooland first city women’s school, as well as in the Mariinsky female gymnasium. In 1918, the artist returned to Barnaul, where, according to A. Khudyashev's questionnaire recently discovered in the State Archive of the Altai Territory, he continued his teaching activities at the Barnaul Pedagogical Technical School and at the Workers' Faculty, and also worked in the Altai provincial department of public education. In addition, the artist was engaged in design activities. Becoming a member of the AllSiberian Society of Artists «New Siberia», he took part in the First All-Siberian exhibition of painting, sculpture, graphics and architecture, opened by members of the "New Siberia" in 1927 in Novosibirsk. The history of the Museum of Fine Arts in Barnaul, the first art museum in Altai, is connected with the name of A. Khudyashev. In difficult historical times, the change of the social and political system, the civil war, the introduction of the New Economic Policy A.V. Khudyashev sought to save a unique collection of the first art museum in Altai, understanding the importance and necessity of his work for future generations. The article introduces for the first time into the scientific parlance and analyzes three of his remaining paintings, now stored in the State Art Museum of the Altai Krai, tells about the composition and fate of the collection of the Museum of Fine Arts in Barnaul.


Author(s):  
А.А. Немировский ◽  
А.А. Ясеновская ◽  
В.Ю. Шелестин

Статья представляет собой комментированную публикацию не вводившегося ранее в научный оборот оттиска печати из Кюль-тепе (нач. II тыс. до н. э.) из коллекции ГМИИ (инв. № I 2 б 1598) с редкой по характеру композицией, на которой герой попирает поверженного врага перед сидящим на престоле божеством, а между последним и героем помещено священное древо крайне необычной формы (рис. 1; 2). Сравнительное изучение изображения показывает, что оно сочетает как месопотамские мотивы (триумф над простертым на спине врагом, заслоняющимся рукой, в том числе перед лицом божества), так и восточноанатолийские (древо искомой редкой формы рядом с божеством и некоторые иные параллели обнаруживаются на поздненовохеттской печати) (рис. 3). The paper presents a commented publication of seal print from Kültepe (early II mill. BC), collection of the Pushkin Museum of Fine Arts, Moscow (inv. no. I 2 b 1598) with a rare composition where the hero tramples the defeated enemy before the deity sitting on the throne, while a sacred tree of an extremely unusual shape is depicted between the deity and the hero (Fig. 1; 2). A comparative study of the image shows that it combines both Mesopotamian motifs (a triumph over the enemy stretched out on his back and raising his hand in order to shield himself or beg for mercy) and East Anatolian ones (the tree of the rare form placed next to the deity and some other details have analogies on one Late New Hittite seal) (Fig. 3).


Author(s):  
А.Р. Канторович ◽  
В.П. Толстиков ◽  
М.В. Шкурова

В последние годы впервые, благодаря исследованиям Боспорской (Пантикапейской) археологической экспедиции ГМИИ им. А. С. Пушкина, в исходной зоне акрополя Пантикапея были найдены предметы, оформленные в скифском зверином стиле (это преимущественно элементы конского снаряжения). В статье публикуются данные изделия, изображения на которых анализируются в контексте общей систематики и хронологии восточноевропейского скифского звериного стиля. Все они датируются в пределах конца VI перв. пол. V в. до н. э. Это время начала интенсивных скифо греческих контактов в Северном Причерноморье, однако конкретно для изначальной территории Пантикапея таких безусловных свидетельств взаимопроникновения древнегреческой и скифской культур ранее практически не наблюдалось. Характер и глубина данного взаимодействия должны стать предметом изучения в будущем. In recent years, for the first time, due to the researches of the Bosporus (Panticapean) archaeological expedition of the Pushkin State Museum of Fine Arts, in the initial zone of the Panticapaeum Acropolis some objects decorated in the Scythian animal style (mainly elements of horse equipment) were found. The article represents these products analyzed in the context of the general systematics and chronology of images of the Eastern European Scythian animal style. They all date to within the late 6th first half of 5th century BC. This is the starting period of intensive Scythian Greek contact in the Northern Pontic, but specifically for the original site of Panticapaeum such absolute evidence of the interpenetration of Greek and Scythian cultures had not been previously observed in practice. The essence and depth of this interaction should be studied in future.


2020 ◽  
Vol 23 (5) ◽  
pp. 914-922
Author(s):  
Anna Kalina

The article describes the exhibitions prepared by the Department of Old Russian Art of the State Museum of Fine Arts of the Republic of Tatarstan together with the Department of Manuscripts and Rare Books of the Scientific Library N.I. Lobachevsky of the Kazan Federal University in the period from 2013 to 2016. These projects reflect only a small part of the joint work of the State Museum of Fine Arts of the Republic of Tatarstan with the Department of Manuscripts and Rare Books of the Scientific Library N.I. Lobachevsky, all of them became significant events in cultural life of the city and the republic.


2020 ◽  
Vol 5 (3) ◽  
pp. 362-372
Author(s):  
Irina F. Lobasheva ◽  
◽  

Kazan Art School is a famous Russian educational institution that became an art educational center in the Volga-Kama Region and the Trans-Urals. In 2020, the school represented by N.I. Feshin Kazan Art College celebrates its 125th anniversary. It was opened under the direct tutelage of the Imperial Academy of Arts (1895) on the initiative of the Academy graduates, natives of the Kazan Region N.N. Belkovich, G.A. Medvedev, H.N. Skornyakov, I.A. Denisov, and Yu.I. Thyssen with the assistance of the city authorities. The historical walls of the school are marked by the teaching and pedagogical contribution of such legendary personalities as N.I. Feshin, P.P. Benkov and B.I. Urmanche, A.M. Rodchenko, P.A. Radimov, P.M. Dulsky, D.D. Burliuk, V.K. Timofeyev and other famous masters of the Russian art. The collection of the State Museum of Fine Arts of the Republic of Tatarstan contains the main artistic heritage of the school of the pre-revolutionary period and the first years of Soviet history (1895–1920s), which is considered in the given article. Conventionally, this legacy consists of three main parts. The main part includes works by the founders, teachers and students of the Kazan Art School. It is a fairly extensive collection of several hundred paintings and graphic works, as well as a small number of sculptural exhibits. The collection gives an opportunity to get acquainted with typical examples of the creative manner of the main representatives of the school. All of them are characterized by a special individuality of the visual language, but a diverse visual range is united by a common culture of vision. The collection is also particularly valuable due to the fact that it presents rare famous examples of the work of such artists as Yu.I. Thyssen, L.F. Ovsyannikov, F.P. Gavrilov, N.I. Mikhailov and others. An art museum operated at the Kazan school, which was created with the active involvement of the Academy of Arts.The museum operates at the school in a transformed form up to the present day. The collection of the Fine Arts Museum of the republic contains the bulk of the works of this collection, which gives an idea of the scale of the Academy of Arts activities to support the school with donated works. There are about 80 of them in total. The names of many are well known in the history of Russian art: I.E. Repin, I.I. Shishkin, A.P. Bogolyubov, K.E. Makovsky, V.V. Mate, A.F. Gausch, F.S. Zhuravlev, A.A. Kiselev, R.F. Franz and others. The museum collection also contains works by the most famous student of the Kazan Art School – Nikolai Ivanovich Feshin (1881–1955), who later was an equally famous school teacher (since 1909). The largest collection of Feshin's works in Russia, including painting, graphics, sculpture, decorative and applied art of the master (over 180 works) is kept in Kazan.


2019 ◽  
pp. 26-31 ◽  
Author(s):  
Alexander V. Spiridonov ◽  
Nina P. Umnyakova

The article is focused on the general and instrumental survey of historical translucent structures in the Pushkin State Museum of Fine Arts in 2018. It is shown that they don’t complying with the current requirements, neither in heat transfer resistance nor in air permeability. The improvement recommendations have been developed. It is noted that in case of preservation of metal window frames (according to the requirements of the law on protection of cultural heritage sites) the largescale computer calculations should be performed to determine the best ways of window restoration.


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