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.

Art, Nationhood, and Display: Zinaida Volkonskaia and Russia's Quest for a National Museum of Art

Slavic Review ◽  
2008 ◽  
Vol 67 (4) ◽  
pp. 912-933
Author(s):  
Rosalind P. Blakesley
Keyword(s):  
Cultural History ◽  
Sense Of Self ◽  
Art Museum ◽  
Russian Art ◽  
National Pride ◽  
National Space ◽  
Western Art ◽  
Female Patronage ◽  
Self Image ◽  
Wide Resonance

In 1831, the journal Teleskop published Princess Zinaida Volkonskaia's proposal for a national art museum in Moscow. Volkonskaia's project was progressive to a degree (Russia had no such museum at the time), yet the model she proposed was highly traditional. She excluded Russian art entirely, despite her support of modern Russian artists. Instead, Volkonskaia privileged classical and more recent western European art, underlining the deference to western practice that influenced cultural politics even as Russia moved toward a stronger national sense of self. Volkonskaia's project marks an important juncture in Russia's cultural history: the intersection of aristocratic female patronage and the institutionalization of academic procedure. It also provides a platform from which to consider Russia's self-image vis-à-vis Europe in the aftermath of the Napoleonic campaigns. By tracing an intricate dialogue in which national pride developed alongside continuing admiration for neoclassical ideals, Rosalind P. Blakesley addresses the paradoxes of Volkonskaia's project, and the difficulties of conceptualizing a “national” space of artistic display. Volkonskaia's project poses significant interpretive problems and her exclusion of Russian art prefigures the segregation of Russian and western art in Russian museums today, which has marginalized Russian art even within Russia itself. Volkonskaia's project thus has wide resonance, for the question of whether and how museums encapsulate national cultural identities remains an issue of great intellectual concern.

scholarly journals History of One Portrait

2019 ◽  
Vol 29 (1) ◽  
pp. 32-38
Author(s):  
Sophia Shemyakina
Keyword(s):  
Optical Glass ◽  
Art Museum ◽  
Arts And Crafts ◽  
Stained Glass ◽  
Music Theater ◽  
Russian Art ◽  
Art Works ◽  
90Th Anniversary ◽  
History Of ◽  
Decorative Glass

Irkutsk Regional Art Museum exhibition opened in September 2018 commemorated the 90th anniversary of the birth of Boris Timofe­evich Bychkov, Russian folk artist, corresponding member of Russian Art Academy, member of Irkutsk Regional Union of Artists and master of decorative glass. He had lived and worked in Irkutsk since 1962. A native of Moscow he graduated from Mukhina Leningard Higher Arts and Crafts College. For many years, he was an art director of Gusev glass manufacturing plant in Gus-Khrustalny. In 1962, he moved to Irkutsk and dedicated his whole life to Siberia. These are some of his art works known to natives of Irkutsk: stained glass windows «Irkutsk» in the hotel «Inturist», «The Blue Bird» in Bratsk community center, chandeliers in Irkutsk Music Theater, «Vostoksibsantechmontazh» and «Agrodorspecstroy» companies, and ornamental designs «Frozen sounds» and «Victory» in Irkutsk Art Museum Collection. Most of his designs and artifacts are stored in warehouses and are on exhibit in Irkutsk Art Museum, and all of them were featured in an exhibition. Besides the artist’s works, there were two other art works on display — «Portrait of B.T. Bychkov. Mural» and «Portrait of B.T. Bychkov on the optical glass» by painter-jewelers Natali and Arkadyi Lodyanovyh. This article is about the creative works of the glassware art artist himself and the story behind his portrait.

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 After the 1917th. Private Collection Exhibition at the Harbin Contemporary Art Museum

2019 ◽  
Author(s):  
Ольга Ивановна Зотова
Keyword(s):  
Contemporary Art ◽  
Art Museum ◽  
Russian Art ◽  
Soviet Art ◽  
Private Collection ◽  
First Time ◽  
Contemporary Art Museum

Выставка, прошедшая в июне 2019 года в Музее современного искусства Харбина, была организована Галереей русского искусства Jialand и частным коллекционером Джи Кай (Ji Kai) из Пекина. Эта выставка имела необычный формат: впервые зрителю предлагалось обширное частное собрание, насчитывающее несколько сотен произведений советского и российского искусства. Название выставки После 1917го года Частная коллекция советского искусства XX века указывает на широту временного охвата материала: от 1920х годов, периода легендарного русского авангарда, до 1990х, времени, когда советское искусство стало явлением и феноменом истории. The exhibition, held in June 2019 at the Harbin Contemporary Art Museum, was organized by the Gallery of Russian art Jialand and a private collector from Beijing. This exhibition had an unusual format: for the first time the viewer was offered an extensive private collection, reading several hundred works of Soviet and Russian art. The title of the exhibition After 1917th Private collection of Soviet art of the XX century indicates the breadth of the temporary coverage of the material: from the 1920s, the period of the legendary Russian avantgarde, to the 1990s, the time when Soviet art became a phenomenon of history.

scholarly journals THE INNOVATIVE FORMS IN THE ACTIVITY OF REGIONAL ART MUSEUM OF VINNYTSIA AS THE IMPORTANT REGIONAL CENTER OF CULTURE AND EDUCATION

2021 ◽  
Vol 4 ◽  
pp. 693-704
Author(s):  
Tetiana Sidletska ◽  
Tetiana Kniazieva
Keyword(s):  
Research Methodology ◽  
Art Museum ◽  
Regional Center ◽  
Educational Establishment ◽  
Modern Technologies

The article has revealed and founded the innovative forms in the activity of Regional Art Museum of Vinnytsia. The research methodology is based on the systemic, structural, functional and active approaches. It makes possible to analyze the development and functions of Regional Art Museum of Vinnytsia, to determine the main directions, types of work and innovative forms of the museum activity as well as to show the role and significance of such important regional cultural and educational establishment. It is admitted that due to the introduction of innovative forms and modern technologies the museum has transformed its activity and has remained relevant to the contemporary audiences

scholarly journals Porcelain interior plastic of the 1950s in museums and private collections in China

2021 ◽  
Vol 12 (1) ◽  
pp. 58-67
Author(s):  
Yu Wang ◽  
◽  
Zhengding Liao ◽  
Keyword(s):  
National Culture ◽  
Fine Arts ◽  
Folk Art ◽  
Art Museum ◽  
Republic Of China ◽  
Porcelain Production ◽  
History Of ◽  
The 1950S ◽  
Private Collections

In the two decades since the establishment of the people’s Republic of China, the challenges facing porcelain production have changed significantly. Porcelain production is one of the most important and oldest traditions in China. In the 1950s, porcelain craftsmen became involved in the creation of new forms of interior plastics. Many of the pieces they created are now part of museum collections and represent the history of the development of Chinese interior porcelain. Using the example of three museums and three reference monuments, the article examines the key trends in the development of porcelain art and stylistic changes that occurred during this period. The following museums have been selected as examples to showcase the specifics of Chinese porcelain art from this period: the China Ceramic and Porcelain Museum located in Jingdezhen City, which is the country’s first major art museum specializing in ceramics; the Chinese Fine Arts Museum in Beijing, which specializes in collecting, researching and displaying works of Chinese artists of modern and contemporary eras; and the Guangdong Folk Art Museum, which specializes in collecting, researching and displaying Chinese folk art. All of these museums are engaged in collecting porcelain, including interior porcelain plastics from the mid-20th century. In the collections of the aforementioned museums, three works were selected for analysis. These are three paired compositions created in the second half of the 1950s: the sculpture “An Old Man and a Child with a Peach” by Zeng Longsheng, “Good Aunt from the Commune” by Zhou Guozhen and “Fifteen coins. The rat case” by Lin Hongxi. These porcelain compositions reveal close relations with Chinese national culture and not only reflect various scenes, but are also aimed at expanding the role of porcelain in decorating residential interiors.

scholarly journals К вопросу об атрибуции русской оригинальной графики XX века из частных коллекций в собрании ИОХМ им. В.П. Сукачёва

2021 ◽  
pp. 46-53
Author(s):  
M.A. Averyanova
Keyword(s):  
20Th Century ◽  
Art Museum ◽  
Museum Collections ◽  
Work Of Art ◽  
Literary Works ◽  
Ongoing Work ◽  
Source Studies ◽  
Private Collections

The article is devoted to the attribution of the original graphics of the 20th century from private collections in the collection of the Irkutsk Regional Art Museum named after V.P. Sukachev. The stages of studying a particular work of art are described in detail. Attention is paid to the research of recent years, which allows us to talk about the ongoing work with objects from museum collections. As a result of the study, based on the source studies and comparative stylistic methods, it was possible to clarify the attribution of a number of illustrations to literary works, small-format watercolors and some drawings. Such works include, for example, the works of N.V. Kuzmin, T.A. Mavrina; K.S. Petrov-Vodkin, described in the article. Статья посвящена атрибуции оригинальной графики XX века из частных коллекций в собрании Иркутского областного художественного музея им. В. П. Сукачёва. Подробно расписаны этапы изучения того или иного произведения искусства. Уделено внимание исследованиям последних лет, позволяющим говорить о непрекращающейся работе с предметами из музейных коллекций. В результате исследования с опорой на источниковедческий и сравнительно-стилистический методы удалось уточнить атрибуцию ряда иллюстраций к литературным произведениям, небольших по формату акварелей и входящих в серии рисунков. К числу таких произведений относятся, например, работы Н.В. Кузьмина, Т.А. Мавриной, К.С. Петрова-Водкина, описанные в статье.

scholarly journals PRESERVATION, STUDY AND POPULARIZATION OF BOOK HERITAGE IN IRKUTSK ("ACADEMIA" PUBLISHING HOUSE COLLECTION)

2020 ◽  
pp. 26-34
Author(s):  
I. P. Bedulina
Keyword(s):  
Capital Punishment ◽  
Publishing House ◽  
Art Museum ◽  
Cultural Value ◽  
Book Art ◽  
Graphic Art ◽  
History Of ◽  
The Government ◽  
Professional Artists ◽  
Almost All

"Academia" Publishing House (1922–1937) books are an example of high publishing culture.For many years, the products of the publishing house have been the subject of close attention on the part of bibliophiles and collectors in many countries of the world. The reason for this interest is literary impeccability and excellent decoration. To reach unprecedented artistic heights became possible thanks to the work of the best Soviet professional artists. All the existing printing methods, the best printing houses, and graphic art techniques were used while creating these books. The history of the publishing house, covered in rare publications, alongside with triumphal events, victories at international book competitions, is full of dramatic and even tragic pages. It can be called the publishing house of repressed editors, authors, and books.Almost all the managers of Academia, many employees were subjected to repressions, were sentenced to capital punishment. Their names were extorted from the output of the entire book circulation; introductory articles were cut out, publications were discontinued, sometimes, entire print runs of books were destroyed. In modern libraries, copies of such "repressed" books have been miraculously preserved. That is why it is difficult to overestimate their historical and cultural value – genuine documentary witnesses of historical events of almost a century remoteness.The history of the Academia Publishing House is intertwined with Irkutsk, since the stuff included people whose fate related to the city on the Angara: the last head of the “Academia”, Yakov Davidovich Yanson, after the October revolution held leadership positions in the government in Irkutsk; the founder of the Soviet school of folklore and anthrax studies, Irkutsk professor Mark Konstantinovich Azadovsky also collaborated with the publishing house “Academia”.The article is the first to observe the questions of valuable collections formation and preservation in the Irkutsk Regional Universal Scientific Library named after I. I. Molchanov-Sibirsky (IRSUSL), the former library of the Irkutsk Pedagogical Institute and the library of the Irkutsk Regional Art Museum named after V. P. Sukatchev (IRAM). Collecting bit-by-bit book masterpieces, librarians study, popularize them at exhibitions, presentations, lectures, showing the authentic Russian book art culture.

scholarly journals Landscape of Altai by Yuri Kapustin

2015 ◽  
Author(s):  
Е.Ю. Пешков
Keyword(s):  
Art Museum ◽  
The State ◽  
Main Theme ◽  
80Th Anniversary ◽  
Graphic Artist ◽  
Professional Artists

Персональная выставка Ю.Н. Капустина, посвященная 80летию мастера, уже четвертая в стенах музея, предыдущие состоялись в 1992, 2000 и 2010 годах. 77 произведений художника сейчас хранятся в фондах Государственного художественного музея Алтайского края, 20 из них поступили от автора в качестве дара. Personal exhibition of Yuri Kapustin at the State art Museum of Altai Krai, dedicated to the 80th anniversary of the masters, held in 1992, 2000 and 2010 years. Yuri Kapustin is a painter, ceramist, enameller, graphic artist, member of the Union of artists of Russia, Creative Union of professional artists, International art Fund, laureate of the Association Art of Nations , participant of many solo and group exhibitions in Altai, Moscow and abroad etc. The Altai is the main theme of creativity of the painter. But the nature of the Altai is inseparable from his history. Therefore, the viewer can see here drawings, ceramics and enamel, where the landscape in addition to its realistic and ornamental varieties has symbolic and historical shapes, in which there are Russian or Altaic ethnic motives, the Scythian images or petroglyphs.

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