scholarly journals Итальянская живопись ‘до Рафаэля’ в творчестве Николая Рериха

2020 ◽  
Author(s):  
Valentina Voytekunas
Keyword(s):  
20Th Century ◽  
Artistic Practice ◽  
Direct Experience ◽  
Russian Culture ◽  
Italian Art ◽  
Artistic Heritage

At the turn of the 20th century, interest in Italy and the artistic heritage of the Old Italian Masters, especially the Proto-Renaissance and Early Renaissance was a noticeable phenomenon in Russian culture. Painting ‘before Raphael’ became one of the most important sources that influenced the style and imagery of many Russian artists, including Nicholas Roerich. This article examines the factors that determined Roerich’s interest in early Italian art and analyzes the direct experience of the artist studying ancient painting in Italy, which was reflected in his artistic practice of the 1900s-1910s.

scholarly journals Claudius Vasilievich Lebedev as a Church painter and a Bible Illustrator

2020 ◽  
pp. 61-76
Author(s):  
Галина Владимировна Аксенова
Keyword(s):  
20Th Century ◽  
Artistic Heritage ◽  
Printing House

В статье дана характеристика творчества представителя русской реалистической школы академика К. В. Лебедева, принявшего участие в росписи Вознесенского собора в г. Ельце и создавшего иконостас для болгарской церкви святого Стефана в Стамбуле. Любимым жанром для К. В. Лебедева стала историческая живопись, позволяющая с помощью красочности древнерусских костюмов и особенностей обстановки показать характеры людей. Как художник-график, К. В. Лебедев проиллюстрировал произведения классиков русской литературы. Иллюстрации к некоторым из них до настоящего времени остаются лучшими и непревзойдёнными как по технике исполнению, так и по глубине понимания образов. Среди крупнейших работ художника - иллюстрации к текстам Ветхого и Нового Заветов, к церковным пособиям и изданиям, изданным в начале XX в. в типографии И. Д. Сытина. The article describes the artistic heritage of the representative of the Russian realistic school, Academician K.V. Lebedev, who took part in the decorating of the Ascension Cathedral in Yelets and created the iconostasis for the Bulgarian Church of St. Stephen in Istanbul. Historical painting became his favorite genre and allowed to show the characters and the peculiarities of the situation through colorful ancient Russian costumes. As a draughtsman, K.V. Lebedev illustrated works of the classical Russian writers. The illustrations for some of them still remain the best and unsurpassed both in the technique of performance and in the depth of understanding the image. Among the artist’s biggest projects there are illustrations of the Old and New Testaments, church manuals and publications published at the beginning of the 20th century. in the printing house of I. D. Sytin.

Historiosophy of N.Ya. Danilevsky

2020 ◽  
Vol 58 ◽  
pp. 13-17
Author(s):  
Victor V. Aksyuchits
Keyword(s):  
20Th Century ◽  
World History ◽  
Russian Culture ◽  
Russian People ◽  
The World ◽  
History Of ◽  
First Time

According to the author of the article, N.Ya. Danilevsky anticipated a lot of ideas of the 20th century, in particular those of O. Spengler and A. Toynbee, by offering his concept of cultural and historical types in the book “Russia and Europe”. At the same time N.Ya. Danilevsky was in many aspects the follower of Slavophils while interpreting the originality of Russian people and Russian culture. After the turn of the educated society circles to Russian national self-comprehension initiated by Slavophils, N.Ya. Danilevsky not only scientifically formulated the problems brought forth by the Slavophils, but also offered for the first time the resolution of new important questions by analyzing the world history and the history of Slavic peoples. The author especially stresses the role of N.Ya. Danilevsky in creating the historiosophic concept that forestalled the epoch for many decades.

Pan Tianshou [潘天壽] (1897–1971)

2018 ◽  
Author(s):  
Yao Wu
Keyword(s):  
20Th Century ◽  
Cultural Revolution ◽  
Art History ◽  
Chinese Art ◽  
Art Teacher ◽  
Republic Of China ◽  
Dynamic Landscape ◽  
New Nation ◽  
Artistic Heritage ◽  
Distinct Separation

Pan Tianshou was a 20th-century Chinese painter, calligrapher, and art teacher. A dedicated advocate of guohua [國畫], he is highly esteemed for his dynamic landscape and bird-and-flower paintings imbued with a literati aesthetic. Tianshou argued for a distinct separation between Chinese and Western painting, wrote extensively on Chinese art history and theory, and devoted himself to the proliferation and education of China’s artistic heritage. He directed guohua instruction at the national art academy in Hangzhou from its founding in 1928, and was associated with the school until the time of his death. Pan’s paintings are known for their bold composition, his vigorous application of brushstrokes and ink splashes, tonal variation, his occasional use of fingers as an unmediated medium, and poetic inscriptions executed in refined calligraphy. After the establishment of the People’s Republic of China in 1949, Pan went on government-sponsored sketching expeditions, while also creating an immense range of public artworks that glorified the beauty of the new nation. Pan was severely persecuted shortly after the onset of the Cultural Revolution (1966–1976), however, and died in 1971.

Gothic Art in Italy

Art History ◽  
2020 ◽  
Author(s):  
Nancy Thompson
Keyword(s):  
20Th Century ◽  
Northern Europe ◽  
Periodical Literature ◽  
Late 20Th Century ◽  
Giorgio Vasari ◽  
The Past ◽  
12Th Century ◽  
Italian Art ◽  
Almost All ◽  
19Th And 20Th Century

This article covers a period in Italy, c. 1250 to c. 1400, often characterized as the beginnings of the Renaissance in Italy. While many scholars in the past—from Giorgio Vasari in the 16th century to 19th- and 20th-century founders of the discipline—sought the “primi lumi,” or first lights, of the Renaissance in the 13th- and 14th-century art of Italy, more recent scholarship in the field is concerned with the contexts in which art in this period was commissioned, created, and received. Some of the larger contextual concerns that have driven scholarship since the late 20th century are the proliferation of the mendicant orders and their roles as patrons; the burgeoning mercantile economy that fueled artistic and architectural commissions; the political power of the communes and the ways that art and architecture reflected and created civic identity; the reception of works of art by a variety of audiences; and the importance of materials and techniques in the creative lives of artists. Additionally, due in large part to Vasari’s love of Florence and Florentine art, a great deal of scholarship in the field attends to Florentine art and to central Italian art more generally. This article reflects that bias and contains scholarship mainly on central Italian art. The title of this entry implies that it is concerned only with Italian art that is related in some way—visually, socially, theologically—to the art of northern Europe, where what art historians call the Gothic style originated in the 12th century. While some of the scholarship in this article centers on artistic exchange between northern Europe and Italy or examines Italian art that is Gothic in style, it is not limited to these issues. This article is intended to serve advanced undergraduates, beginning graduate students, and scholars seeking to do research in a new field, and it includes almost all books, many of them published within the past twenty years, with the intent that the bibliographies of the books will lead students and researchers to the older sources and periodical literature relevant to their scholarly interests.

20th Century Italian Art

Art Education ◽  
1952 ◽  
Vol 5 (6) ◽  
pp. 1
Author(s):  
Joseph Vincent Lombardo
Keyword(s):  
20Th Century ◽  
Italian Art

scholarly journals “True Heirs to a Heroic Russian Past” or “Russians in Name Only”: Sitka Creoles as Seen by the Late Nineteenth Century Russian Orthodox Clergy

2020 ◽  
Vol 5 (4) ◽  
pp. 12-37
Author(s):  
Sergei Kan
Keyword(s):  
Nineteenth Century ◽  
20Th Century ◽  
Alaska Native ◽  
Late Nineteenth Century ◽  
Early 20Th Century ◽  
Russian Orthodox ◽  
Russian Culture ◽  
Language And Culture ◽  
Late Nineteenth

The paper examines the criticism levelled against the Creoles of Sitka (persons of Russian and Alaska Native descent) by the Russian Orthodox priests who came to minister among them in the late 19th-early 20th century. These clergymen accused their parishioners not only of immorality but also of not being truly Russian, as far as their language and culture were concerned. By focusing on this criticism, the paper explores the symbolic significance of Alaska’s Russian colonial and missionary history and its legacy in the conservative nationalist ideology of the Russian Orthodox clergy. Particular attention is paid to the causes to which this clergy attributed the decline of the Russian culture and devotion to Orthodoxy among the Creole population of this frontier American/Alaskan town.

scholarly journals City in Italian art of the first half of the 20th century: not only futurism

2020 ◽  
Author(s):  
Наталья Михайловна Гончаренко
Keyword(s):  
20Th Century ◽  
Human Emotion ◽  
Modern City ◽  
Italian Art ◽  
The City ◽  
De Chirico

Статья посвящена проблеме репрезентации города в творчестве художников Италии первой половины ХХ века, от футуристов до представителей римской школы . Отмечается, что на рубеже веков в раннем футуризме образы современного города интерпретировались как состояния души (в творчестве Умберто Боччони, Карло Карра). Впоследствии их место заняли изображения города-машины, как в живописи Луиджи Руссоло, и аэроживопись , где человеческим эмоциям уже не было места (примером могут служить произведения Тато и Тулио Крали). Одновременно, в противовес футуризму, существовал город в метафизической живописи , намеренно не желающей иметь ничего общего с современностью. Этот подход характерен для Джорджо де Кирико и Карло Карра. Наконец, в 19201940-е годы такие разные авторы, как Джорджо Моранди, Арденго Соффичи, Карло Карра, Марио Сирони, представители римской школы и ранний Ренато Гуттузо изображают свою повседневную среду обитания: небольшие итальянские города либо окраины Милана, Рима или Болоньи, которые они видят ежедневно. The article is devoted to the problem of city representation in the works of Italian artists of the first half of the 20th century, from futurists to representatives of the Roman school. It is noted that at the beginning of the 20th century, in futurist paintings, the images of the modern city were interpreted as states of the soul (in the works of Umberto Boccioni and Carlo Carr). Later there appeared images of the city as a machine, as in the painting of Luigi Russolo, and aero painting, where there was no longer any human emotion (works by Tato and Tulio Crali can serve as an example). At the same time, in contrast to futurism, there was city depictions in metaphysical painting. This approach was used by Giorgio de Chirico and Carlo Carr. Finally, in the 1920s and 1940s, such different authors as Giorgio Morandi, Ardengo Soffici, Carlo Carr, Mario Sironi, representatives of the Roman school and the early Renato Guttuso depict their everyday habitat: small Italian cities or the outskirts of Milan, Rome or Bologna, which they saw every day.

scholarly journals The Non-Humanist Vector in 20th-Century Russian Literature

2020 ◽  
Vol 2 ◽  
pp. 183-200
Author(s):  
Maria Rubins ◽  
Keyword(s):  
20Th Century ◽  
Russian Literature ◽  
Russian Culture ◽  
The World

The article focuses on a corpus of narratives written in various cultural and historical contexts both within metropolitan Russia and in diaspora, which engaged with the process of dehumanization of the world and mankind and the inadequacy of Russian literature’s traditional arsenal to represent the anthropological experience of the 20th century. These texts revised the humanist pathos of Russian culture, the European legacy and Eurocentric discourse, and created an alternative conceptual and aesthetic language that became particularly relevant for contemporary Russian literature.

scholarly journals Neo-Kantian motifs in the works of A. Bely

2021 ◽  
Vol 2 (3) ◽  
pp. 0
Author(s):  
Valeria Belyaeva
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Integrated Approach ◽  
Russian Philosophy ◽  
Subjective Perception ◽  
Philosophy Of Art ◽  
Russian Culture ◽  
Russian Symbolism ◽  
The Difference ◽  
The 19Th Century

The article is devoted to the work of A. Bely in the development of Russian culture in the late 19th - early 20th centuries. Attention is paid to the motives of the creative path of the philosopher-poet, who created the basis of Russian symbolism. By analyzing the cultural and historical manifestations of the second half of the 19th century and the first half of the 20th century, reflection in the works of art and science workers, an assessment of the severity of symbolism for the development of Russian philosophy and the field of art in general. In the process of the formation of symbolism in Bely's work, neo-Kantian motives are clearly revealed in the formulation of the problem of the difference between subjective perception and the essence of the object of perception in itself, that is, distinguishing between the symbol and the signified. By comparing Bely's views with the concept of sophiology and anthroposophy, distinct Kantian positions of the philosopher-poet stand out. These include the schematism of space and time, an attempt to apply the categories of natural science to the field of philosophy of art, as well as the demarcation of the immanent and the transcendent. Despite the fact that the ideas of the philosopher-poet in their form have similar positions with the anthroposophy of R. Steiner and with the ideas of V. Solovyov, however, the key content is the neo-Kantian methodology of "critical deepening" of thought and its rationalization. The actualization of Bely's creativity and the issue of his neo-Kantian motives is carried out by attracting research from related branches of knowledge on the principles of interdisciplinary consideration and implementation of an integrated approach.

scholarly journals The feminine image of Russia in the religious and philosophical writings by Russian thinkers at the turn of the 20th century

2021 ◽  
Vol 103 ◽  
pp. 01041
Author(s):  
Arcady G. Sadovnikov ◽  
Alina E. Korzheva ◽  
Farrukh Begidjon Khudoidodzoda
Keyword(s):  
Comparative Analysis ◽  
Human Nature ◽  
20Th Century ◽  
Silver Age ◽  
Male And Female ◽  
Russian Culture ◽  
The Feminine ◽  
Philosophical Writings ◽  
The Universe

The article looks at the versions of the feminine image of Russia in the religious and philosophical reflections of the Russian thinkers who worked during the Silver Age (the period of Russian culture covering approximately 1890–1917): Vladimir Solovyov, Nikolai Berdyaev, and Sergei Bulgakov. Special attention is paid to the balance between the male and female principles, which are endowed with certain characteristics in different works by Russian thinkers, not only from the perspective of human nature but also in terms of the nature of Russian culture and mentality, as well as the cosmic nature of the universe. Analysis of the religious and philosophical pursuit of the Silver Age relating to the feminine image of Russia allows the authors to specify the ideas of the characteristics of femininity engrained in the Russian culture and clarify the role of this pursuit in the development of the reflexive Russian thought directed towards becoming aware of these characteristics. The belief about the salvatory mission carried out by the feminine aspect of the human and cosmic nature distinctively identified in the religious and philosophical writings by the Russian thinkers belonging to the Siver Age requires further study. The research has been conducted within the framework of the symbolic direction of cultural studies with the help of comparative analysis, the method of theoretical reconstruction, and problematic-logical, functional, and systemic approaches. These methods allowed the authors to specify the problematic field of the research and define the main concepts to examine the statements about the feminine aspect of Russian culture by different authors as a unified system of forms aimed at the comprehension of the value and symbolic foundation of the national ethnic culture.

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