scholarly journals The portrait in the creative work of A.Y. Golovin

2018 ◽  
Author(s):  
Ольга Николаевна Филиппова
Keyword(s):  
Creative Work ◽  
Museum Collections ◽  
Russian Art ◽  
Private Collections

Александр Яковлевич Головин (1863–1930) принадлежит к числу крупнейших деятелей русской художественной культуры конца XIX – начала XX века. Его искусство получило широкую известность и признание. О А.Я. Головине написаны книги, очерки, немало статей. Но искусство А.Я. Головина-портретиста – это малоисследованная область творчества этого замечательного живописца. Обширное портретное наследие художника не только не изучено в значительной своей части, но до сих пор еще малоизвестно. Оно оказалось распыленным, разбросанным по частным коллекциям и многочисленным музеям. Ряд первоклассных работ находится в зарубежных музейных собраниях. Немало головинских портретов – в запасниках столичных музеев. Цель данной публикации – это анализ его портретного творчества, который даст возможность по-новому взглянуть на этого интересного живописца. Alexander Yakovlevich Golovin (1863–1930) is one of the greatest figures of Russian art culture of the late XIX – of the early XX century. His art became widely known and recognized. Books, essays, a lot of articles are written about. But, the art of Golovin – a portrait painter – is a little studied area of creativity of this wonderful painter. Extensive portrait heritage of the artist is not only not studied in large part, but still little known. It was dispersed, scattered throughout private collections and numerous museums. A number of first-class works are in foreign Museum collections. Many portraits by A.Y. Golovin are in the vaults of the capital's museums. The purpose of this publication is to analyze his portrait work, which will give an opportunity to take a fresh look at this interesting painter.

scholarly journals Museum Collections as a Reflection of Cultural Landscape: the Interpretation of Collective Memory

2018 ◽  
Vol 3 (4) ◽  
pp. 170 ◽  
Author(s):  
Oskar Habjanič ◽  
Verena Perko
Keyword(s):  
Collective Memory ◽  
Cultural Landscape ◽  
Local Community ◽  
Political Identity ◽  
Vulnerable Groups ◽  
Museum Collections ◽  
The Past ◽  
Social Tasks ◽  
The Relationship ◽  
Private Collections

The article deals with the relationship between the local community, museum collections, collective memory and the cultural landscape. The ICOM Code of Museum Ethics defines a museum collection as a cultural and natural heritage of the communities from which they have been derived. The collections, especially in regional museums, are inextricably linked to the community. The cultural landscape can be read also as a bridge between the society and natural environment. The cultural landscape is vitally connected with a national, regional, local, ethnic, religious or political identity. Furthermore, the cultural landscape is a reflection of the community's activities. Therefore, private collections are the foundation of the collective memory and empower museums for important social tasks. They offer an opportunity for multilayered interpretation of the past and give a possibility for museums to work on the inclusion of vulnerable groups. The collections could be a mediator and unique tool for recovering of the “broken” memory. In this way certain tragic past events, ignored or only bigotedly mentioned by history, can be re-evaluated.

Walking in the Shadows of Archaeologists Past: Researching Museum Collections and Associated Records to Elucidate past Lifeways

2000 ◽  
Vol 21 (2) ◽  
pp. 97-106
Author(s):  
Elizabeth A. Crowell
Keyword(s):  
Natural History ◽  
Field Data ◽  
Smithsonian Institution ◽  
The State ◽  
Archaeological Sites ◽  
National Museum ◽  
Museum Collections ◽  
The Past ◽  
Private Collections

Researching museum collections and associated field data, in addition to consulting modern scientific studies, can provide a great deal of information about the presence and nature of archaeological sites in a locale. This article was developed based upon collections research conducted for prehistoric archaeological sites in Washington, D.C., using the collections of the National Museum of Natural History, Smithsonian Institution, and other repositories. The state of collections varies widely. Some collectors gathered only perfect completed tools and other objects, while others collected these materials and debitage. The state of documentation ranges from complete and exacting with precision rivaling modern-day to non-existent. The importance of examining museum collections and private collections, where available, cannot be downplayed. Sometimes they possess the only clues remaining regarding certain practices which occurred in the past and can provide information not otherwise available to the researcher.

scholarly journals CLASSIFICATION OF THE OLBIAN COINS OF THE SECOND HALF OF THE 4TH CENTURY BC.

2021 ◽  
pp. 45-58
Author(s):  
Yevhen Kolesnichenko
Keyword(s):  
Research Methodology ◽  
Systematic Approach ◽  
Complete Classification ◽  
Museum Collections ◽  
Scientific Methods ◽  
Monetary System ◽  
New Varieties ◽  
General Scientific ◽  
Private Collections

Since the beginning of the XXI century, the amount of available for the researchers numismatic material has increased significantly, so introducing a new types of coins into the scientific circulation has become an especially relevant in modern numismatics, even when the archaeological context of most of these finds is almost lost. The study of ancient numismatics of Olbia is rapidly gaining in modern Ukraine. At the beginning of the XX century, ancient numismatics already had some significant achievements, but the accumulated material required urgent cataloging and systematization. During last 10 years since the publication of the most important and thorough catalog of ancient coins by Vladlen Opanasovich Anokhin, as well as the results of cataloging Olbia coins by other researchers - Valery Nechitaylo and Grigory Makandarov, numismatics has been enriched by new previously unknown coin types. The aim of the study. The main purpose of the article is to introduce into the scientific circulation new varieties of Olbia coins and to compile the most complete classification of Olbia coins of the IV century BC. Research methodology. In the process of scientific elaboration of the topic general scientific methods were used: analytical, chronological, and topographical, as well as source methods: critical, metrological and iconographic. A systematic approach to the processing of modern finds from private collections and access to the collections of foreign museums was the impetus for writing an expanded classification work. The scientific novelty. The value of the processed materials is that they not only complement this group of coins, but also refine previously published types in unsatisfactory condition, where incorrect reading of the names and trinkets has led to inaccuracies. The Conclusions. The so-called «obol series» covers the period of the Olbia minting around 350-330 BC. The monetary system consists of four denominations: obol (on the coin field depicts Demeter and the eagle on the dolphin), dikhalk (on the coin field depicts Demeter and the eagle on the dolphin), hulk (on the coin field depicts Demeter and the ear, dolphin) and hemihalk (depicts Demeter and dolphin). The die analysis allowed to divide the coins of Olbia of the IV century BC senior denomination for two stylistic groups. According to the results of our own research, we were able to determine the following number of varieties of each of these denominations: obols – 24 types, dikhalks - 6 types, hulks - 6 types, hemihalks - 2 types. We see the prospect of further research in the introduction into scientific circulation of new previously undiscovered varieties of Olbian coins from little-studied sources - materials of museum collections in Ukraine and abroad, among numismatic rarities sold at numismatic auctions and private collections.

scholarly journals Exposiciones de artes marciales asiáticas en el castillo suizo de Morges

2012 ◽  
Vol 3 (3) ◽  
pp. 68
Author(s):  
Nicolae Gothard Bialokur
Keyword(s):  
Martial Arts ◽  
Main Theme ◽  
Museum Collections ◽  
Font Size ◽  
High Quality ◽  
The Public ◽  
Paper Folding ◽  
Asian Martial Arts ◽  
Private Collections ◽  
Excellent Organization

<p class="MsoNormal" style="text-align: justify; margin: 0cm 0cm 6pt;"><span style="mso-ansi-language: EN-US;" lang="EN-US"><span style="font-size: small;"><span style="font-family: Calibri;">This article reports on two unique cultural exhibitions (2005 and 2007) held in Morges, Switzerland. The main theme for these exhibitions was Asian martial arts with a focus on those from Japan, including presentations by notable masters in aikido, karate, judo, kyudo, iaido, kenjutsu, jodo, juttejutsu, kusarigamajutsu, naginatajutsu, tameshigiri, and kendo. On exhibit were artifacts from Morges Castle museum collections as well as numerous ancient objects borrowed specifically for these exhibitions from other Swiss museums and private collections. There was also a lecture on Japanese sword collecting and care, and presentations of Japanese dance, flower arranging (ikebana), the art of tea (châ no yu, châdo), paper folding (origami), traditional kimono dress, and detailed demonstrations on the manufacture of bladed weapons. Text and photography were arranged to record these events for this article, showing how excellent organization and cooperation can introduce high-quality martial traditions to the public.</span></span></span></p>

scholarly journals Images of Belgorod from the collection of the Belgorod State Art Museum: from depictions of architectural environments to their symbolic representation

2020 ◽  
pp. 173-201
Author(s):  
Наталья Михайловна Гончаренко
Keyword(s):  
Art Museum ◽  
Symbolic Representation ◽  
Regional Organization ◽  
Russian Art ◽  
Regional Center ◽  
Professional Artists ◽  
Private Collections ◽  
Kursk Region

Являясь до установления советской власти уездным городом, а в 1934–1954 годах – районным центром в составе Курской области, Белгород становился объектом изображения в единичных случаях. Лишь с конца 1950-х годов, уже в статусе областного центра, он стал привлекать художников-профессионалов, которые в 1968 году основали здесь региональную организацию Союза художников РСФСР. В Белгородском государственном художественном музее, открывшемся в 1983 году, собрана наиболее представительная коллекция произведений художников Белгородчины, которая может изучаться как в контексте общего развития отечественного искусства второй половины ХХ – начала XXI века, так и с точки зрения региональных особенностей. Значительный массив произведений из фондов музея посвящен образу Белгорода. Здесь представлены как панорамные и ретроспективные его виды, так и «городские интерьеры», которые предполагают способы художественного восприятия, связанные с изображениями отдельных зданий, фрагментов среды, конкретных человеческих типов. В статье представлена систематизация и анализ изображений Белгорода в живописи и графике на примере произведений из фондов Белгородского государственного художественного музея и других музейных и частных собраний. Being a small provincial town within the Kursk region till 1954, Belgorod was not very often depicted by artists. Only since the late 1950s, while already becoming itself a regional center, it began to attract professional artists. In 1968 they had found here the regional organization of the Union of artists. The Belgorod State Art Museum was founded in 1983. Nowadays it has the most representative collection of works by artists of the Belgorod region, which can be studied in the context of the development of Russian art in the 2nd half of the 20th – 21st centuries. A significant array of works from the Museum's collections is dedicated to the image of Belgorod. These works represent both panoramic and retrospective views of it, as well as “urban interiors”, which suggest ways of artistic perception associated with images of single buildings, fragments of the environment, and specific human types. The article presents the systematization and analysis of images of Belgorod in painting and graphics with the examples of works from the funds of the Belgorod State Art Museum and other museums and private collections.

scholarly journals The images of the russian ballet in the Fine Arts of the late XIX and early XX century

2021 ◽  
Vol 12 (34) ◽  
pp. 631-650
Author(s):  
Tatiana V. Portnova
Keyword(s):  
Twentieth Century ◽  
Structural Changes ◽  
Fine Arts ◽  
Search Method ◽  
Stylistic Analysis ◽  
Creative Work ◽  
Visual Material ◽  
Late Nineteenth ◽  
Artistic Image ◽  
Private Collections

The purpose of the study is to analyze various interpretations of the theme of ballet in the context of creating an artistic image taking into account the specific characteristics of various arts on the factual visual material of the late nineteenth - early twentieth century. Methodology: 1) Search method, which allowed to reveal in museums and private collections, works of art dedicated to ballet of the period under consideration; 2) Historical and tipological method, which helped to group the works according to the thematic principle, to determine the degree of their value in the process of the creative work of the artist; 3) Method of stylistic analysis, which allowed to track the structural changes in the images created, the evolution of the creative method of the artist. Main findings: The nature of pictorial foundations in choreography is explored; the artistic pursuits and the various decisions in the masterpieces of graphics, painting and sculpture, dedicated to the ballet theatre and mostly connected with "The Russian Seasons" by S. Diaghilev; the main iconographic principles, the typology and the interpretation of ballet images are revealed.

Turning the Pushkin Museum into a ‘Russian Tate’: Informal creative labour in a transitional cultural economy (the case of privately funded Moscow art centres)

2019 ◽  
Vol 22 (2) ◽  
pp. 281-297 ◽  
Author(s):  
Margarita I Kuleva
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art Market ◽  
Cultural Economy ◽  
Creative Work ◽  
Full Time ◽  
Cultural Institutions ◽  
Russian Art ◽  
Cultural Workers ◽  
Depth Interviews

This article investigates the creative work that is now taking place in newly established cultural institutions in Moscow, the non-governmental museums of contemporary art (MoCAs). The exploration of creative work in Russian art centres is of particular interest because it promises to record the transition of the contemporary art market from the Soviet-era cultural monopoly to the market economy, during the real-time formation of new, informal standards of cultural production. The present article evaluates what informality means within these new standards of the organization of creative work: while standing for culture ‘in a new and innovative way’, the new art centres preserve many residues of the ‘old system’, such as the practices of blat, favour-swapping and clientelism. The article is based on an empirical study conducted in 2016 which included 25 in-depth interviews with cultural workers employed full-time, and 20 live observations in offices and exhibition areas of the art centres.

The Identity and Positions of Relief Fragments in Museums and Private Collections

1988 ◽  
Vol 74 (1) ◽  
pp. 57-67
Author(s):  
Galal Sharawi ◽  
Yvonne Harpur
Keyword(s):  
Museum Collections ◽  
Old Kingdom ◽  
To Come ◽  
Private Collections

This continues a series of papers devoted to the identification of Old Kingdom tomb fragments in museum collections. All the reliefs discussed here are shown (by dimensions, stylistic features, and other criteria) to come from Saqqâra: Brooklyn 35.640 (joining Cairo JE 40049) from tomb 920; Cincinnati 1971.28 (joining Cleveland 30.736) from the tomb of Nj-‘nḫ-nswt; Cairo T.27.6.16.1–2 and JE 57179 (joining Cairo CG 1554) from D 52, the tomb of Snnw-‘nḫ; Otago E.75.5 (joining Cairo CG 1540) from Mrrw-krj Mttw; Dresden 750 and Aberdeen 1553 and 1555 from D 49, tomb of Hnmw-ḥtp.

scholarly journals Spectacles and Embroidered Spectacle Cases from China in the Náprstek Museum

2019 ◽  
Vol 40 (1) ◽  
pp. 103-120
Author(s):  
Helena Heroldová
Keyword(s):  
Social Context ◽  
Transition Period ◽  
Chinese Society ◽  
Museum Collections ◽  
Material Development ◽  
Different Types ◽  
Modern Era ◽  
Private Collections

Abstract Spectacles from China appear in many museum collections, and they are popular collectibles in private collections. The collection of ten spectacles and their cases in the Náprstek Museum in Prague shows its technological and material development from the pince-nez type in the second half of the 19th century to early 20th century tortoiseshell and plastic spectacles. As signs of learning, these different types of spectacles and their cases show their social context and meaning in Chinese society during the transition period from the traditional to the modern era.

scholarly journals ТВОРИ ПЕТРА ХОЛОДНОГО-СТАРШОГО З ПРИВАТНИХ КОЛЕКЦІЙ. НОВІ ШТРИХИ ДО ДОСЛІДЖЕННЯ МИСТЕЦЬКОЇ СПАДЩИНИ

2020 ◽  
pp. 3-9
Author(s):  
Собкович Ольга
Keyword(s):  
Modern Art ◽  
Creative Work ◽  
Private Collections

This publication analyses the artwork by Petro Kholodny Sr., the distinguished artist of the first third of the XX century, from private collections, that gives an opportunity to better comprise and study the artist's searches in different periods of his creative work in the visual-stylistic and genre-thematic spheres. The Moscow collection of easel paintings by the Kholodny family is analysed, showing a range of artistic interests up to 1917. Landscapes and sketches from this collection testify his fascination with plein-airism and, at the same time, with heritage of impressionism. Artist’s portraits and landscapes from various private collections outside and within Ukraine and little-known works of sacral painting of the Lviv period are also analysed: sketches of icons; the “Blahovishchennia” (Annunciation) icon reflecting the national line of modernist style in Ukraine. The mentioned images greatly expand the interpretation of Kholodny Sr’s searches in the synthesis of modern art and Ukrainian-Byzantine tradition and his coloristic feeling.

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