scholarly journals Paintings by Yuri Pimenov in the collection of the State Art Museum of Altai Krai

2020 ◽  
pp. 179-186
Author(s):  
T.N. Kanaryova
Keyword(s):  
Comparative Analysis ◽  
Ussr Academy ◽  
Art Museum ◽  
The State ◽  
Apple Trees ◽  
Railway Station ◽  
Great Patriotic War ◽  
Post War ◽  
Color Scheme ◽  
First Time

The article presents the results of research on a number of previously undescribed works by Yuri Pimenov, an academician of the USSR Academy of arts and people's artist of the USSR. The author for the first time carried out a comparative analysis of three paintings from the collection of the State Art Museum of Altai Krai – “Railway station”, “Apple Trees in the rain” and “Decorating the column”. Here coloristics, composition and plot of paintings are studied. The author analyzes the motif of the way and road, the characters of each painting, and describes the color scheme of the paintings. Similar features and motives have been identified in paintings belonging to the pre-war, post-war periods and the time of Great Patriotic war. The described paintings deepen the idea of Yuri Pimenov as an artist of the war years. Статья посвящена исследованию ряда ранее не описанных работ академика Академии художеств СССР, народного художника СССР Юрия Ивановича Пименова. Впервые проведен сравнительный анализ трех картин, находящихся в коллекции Государственного художественного музея Алтайского края: «Железнодорожная станция», «Яблони в дождь» и «Украшение колонны». Автор исследует колористику, композицию и сюжет живописных произведений. Проанализирован мотив пути-дороги, разобраны герои каждого полотна, описано цветовое решение картин. Выявлены схожие черты и мотивы в произведениях, принадлежащих к довоенному, военному и послевоенному периодам. Описанные картины углубляют представление о Юрии Пименове как художнике военных лет.

Educational Activities of the State Russian Museum in the 1940s

2021 ◽  
Vol 18 (5) ◽  
pp. 549-559
Author(s):  
Olga A. Tuminskaya
Keyword(s):  
Publishing House ◽  
The State ◽  
Primary Sources ◽  
Subsequent Work ◽  
Educational Activities ◽  
Tour Guides ◽  
Documentary Sources ◽  
Great Patriotic War ◽  
Post War ◽  
Museum Tour

The relevance of the article is indicated by referring to archival primary sources that characterize the forms and methods of scientific and artistic educational activities of the State Russian Museum in the 1940s, in particular — during the Great Patriotic War (a museum tour, an exhibition session, a lecture, a conversation with slides). This makes it possible to more accurately identify the direction of work in the following years and at the present time and indicate the need to introduce other forms of work with visitors: lectures with slides, traveling exhibitions, concerts, cycle subscriptions, trips to villages and enterprises, lectures on the radio, cooperation with the museum’s publishing house and the country’s press bodies.The influence of the Department of Scientific and Artistic Propaganda of the 1940s on the State Russian Museum’s subsequent work on communication with the audience is expressed in the revision of the content of the excursion and lecture courses. In the 1950s—1970s, messages on the heroic past of the Soviet people, presentations of the activities of warrior artists, and communication with national unions of artists gained particular popularity. The State Russian Museum became a center for advanced training of tour guides for peripheral art museums.Documentary sources, which include archive materials, are of particular importance in the preservation of memory. Together with them, works of art created during the war or in the first post-war years play an invaluable role in restoring the truth.

scholarly journals Leo Tolstoy's novella “The Prisoner of the Caucasus”: on the question of creative history

2021 ◽  
Vol 26 (4) ◽  
pp. 107-112
Author(s):  
Yevgeniya V. Nikolayeva
Keyword(s):  
Comparative Analysis ◽  
Short Story ◽  
The State ◽  
Leo Tolstoy ◽  
The Caucasus ◽  
Minor Characters ◽  
Other Information ◽  
Children's Stories ◽  
Children's Reading ◽  
First Time

For the first time, the article presents a comparative analysis of Alexander. Pushkin's remarks about his poem “The Prisoner of the Caucasus” and Leo Tolstoy's short story of the same name, written for children's reading and placed in "The Alphabet Book". In the second half of the 1850s, Leo Tolstoy carefully and with numerous notes read the biography of Pushkin, published by Pavel Annenkov for the collected works of the great author. We can assume that from this time the writer begins a conscious study of Pushkin's prose, which previously had not attracted him. In this book, Leo Tolstoy marks out in pencil, among other information, the unsent Pushkin’s letter to Nikolay Gnedich, in which the author of the poem critically examines its shortcomings. In the late 1860s and the early 1870s, Leo Tolstoy was experiencing a serious creative crisis caused by dissatisfaction with the state of fiction, especially language, of that time. He begins to focus on the language of "folkish literature", for the first time applying new "writing techniques" when creating children's stories for "The Alphabet Book". Comparison of Pushkin's critical remarks about his work with the content, images of the main characters, minor characters and their storylines in Leo Tolstoy's story "The Prisoner of the Caucasus" convinces that the writer took into account Pushkin's remarks, having received from Puskin a genuine lesson in skill.

scholarly journals EVEN PERSONAL NAMES IN THEHISTORICAL NAME LIST OF THE KHORI-BURYATS

2021 ◽  
pp. 20-27
Author(s):  
Раиса Гандыбаловна Жамсаранова
Keyword(s):  
Comparative Analysis ◽  
The State ◽  
State Archive ◽  
Personal Names ◽  
Historical Method ◽  
Almost All ◽  
First Time ◽  
Descriptive Method

В статье описывается гипотетическое наличие эвенских личных имен в историческом именнике хори-бурят, извлеченных из ревизских описей Государственного Архива Забайкальского края. Целью статьи является описание эвеноязычных личных имен в своде исторического именника хори-бурят. Это имена, которые ни лексически, ни по своему значению не коррелируют с тибет-монгольскими именами хори-бурят. Данные имена представляют собой ожидаемый в исторической антропонимии бурят антропонимический субстрат, подтверждаемый и обусловленный алтаеязычной общностью тунгусо-маньчжуроязычных эвенов и монголоязычных бурят. Актуальность и новизна статьи обусловлена отсутствием работ по исследованию антропонимического субстрата в своде исторического именника. Вводятся в научный оборот исторические антропонимы, извлеченные из дореволюционного фонда Государственного Архива Забайкальского края. Антропонимическим материалом послужили имена типа Ламханов, Номоконов, Иркыту, наличие которых почти во всех 11 родах хори-бурят обусловлено этногенезом бурят с наличием в том числе и тунгусо-маньчжурских компонентов. В качестве основных результатов приведены доводы в пользу эвенского антропонимического субстрата в именнике бурят, который выписан из ревизских описей. Анализ значения имен Ламханов, Номоконов, Иркыту, равно как и лексемный анализ, позволили отнести их к именам эвенского происхождения. The article describes the hypothetical presence of the Even personal names in the historical name list of the Khori-Buryats extracted from the census documents of the State Archive of Zabaykalsky Krai. The article aims at describing the Even personal names in the historical name list of the Khori-Buryats. These names, which neither lexically nor in their meaning correlate with the Tibetan-Mongolian names of the Khori-Buryats, are of another linguistic origin. These names represent the anthroponymic substratum expected in the historical anthroponymy of the Buryats, confirmed and conditioned by the Altai-speaking community of the Tungus-Manchu-speaking Evens and Mongolian-speaking Buryats. The relevance and novelty of the article is due to the lack of research works on the anthroponymic substratum in the historical name list. Historical anthroponyms extracted from the prerevolutionary fund of the State Archive of Zabaykalsky Krai are introduced into scientific circulation for the first time. Anthroponymic material are the names of Lamkhanov, Nomokonov, Irkhytu, the presence of which in almost all the eleven kins of the Khori-Buryats due to the ethnogenesis of the Buryats including the Tungus-Manchurian components. The article employs the methods of comparative analysis, descriptive method, method of reconstruction of the anthroponymic model, historical method. The study resulted in the arguments in favor of the Even anthroponymic substratum in the name list of the Buryats, written out from the censuses. The analysis of the meaning of the names of Lamkhanov, Nomokonov, and Irkhytu, as well as the lexeme analysis, allowed us to refer these names to the names of the Even origin.

scholarly journals WAYS OF DEVELOPMENT OF KOMI POETRY IN THE SECOND HALF OF THE 20TH - FIRST QUARTER OF THE 21ST CENTURIES

2021 ◽  
Vol 15 (3) ◽  
pp. 446-456
Author(s):  
Elena Vlasovna Eltsova
Keyword(s):  
Historical Development ◽  
Great Patriotic War ◽  
Unified Process ◽  
Post War ◽  
First Time

The article examines the process of the historical development of Komi poetry in the 1946-2020s. The author's composition of several periods is presented in detail: the first post-war decade, 1960-1980s, 1990-2000s. The closest attention is paid to the characteristics of the work of the leading poets of these years: I. Vavilin, S. Popov, F. Shcherbacov, A. Vaneev, V. Popov, G. Yushkov, A. Misharina, V. Timin, G. Butyreva, A. Luzhikov; their main genre and thematic preferences are determined. For the first time, the description of the unified process of development of Komi poetry in the second half of the 20 - first quarter of the 21 centuries includes the newest period of the 1990s - 2000s in its connection with previous periods. A review of poetic works (poems and verses) over several decades led to the conclusion that Komi poetry since the end of the Great Patriotic War has gone through a difficult, ambiguous of development. It suffered significant losses during the repression of the 1930s and during the war years, but was able to recover and reach a new level of development. During these years, several generations of authors took part in the development of Komi poetry, turning in their work to the development of a variety of topics, genres, forms. The process of mastering by poetry in different periods of genres of European and Eastern literatures is especially noted: rubai, sonnet and wreath of sonnets, vers libre, tanka, hokku. The development of such a major lyric-epic genre of poetry as a poem is traced as one of the most important in the work.

A.V. KHUDYASHEV (1885–1927): BIOGRAPHICAL FEATURES AND ANALYSIS OF THE ARTIST’S CREATIVE HERITAGE

2021 ◽  
pp. 253-261
Author(s):  
Elena I. Darius ◽  
◽  
Mikhail Yu. Shishin ◽  
Keyword(s):  
Fine Arts ◽  
Art Museum ◽  
The State ◽  
Early Years ◽  
State Archive ◽  
Design Activities ◽  
History Of ◽  
Organizational Work ◽  
Museum Of Fine Arts ◽  
First Time

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.

scholarly journals Touring activities of Ukrderzhtsirk as a domain’s “health” indicator

2021 ◽  
Author(s):  
Vladyslav Kashuba
Keyword(s):  
Comparative Analysis ◽  
Creative Process ◽  
The State ◽  
Brand Name ◽  
Health Indicator ◽  
Economic Activities ◽  
Foreign Product ◽  
Centralized Management ◽  
General Dynamics ◽  
First Time

The purpose of the article is to identify and analyze the effectiveness of the Ukrainian state circus arts system’s touring activities from the early 1990s. Methodology. The study analyses archival information on the Ukrderzhtsirk’s work. The historical-factographic method helps to record the results of the circus touring activities development. Comparative analysis allows detecting the specifics of the phenomenon, revealing its organizational and creative trends, and evaluating them. Scientific novelty. For the first time, the main trends of the Ukrainian state circus touring activities held since the early 1990s were revealed and characterized. Conclusions. The touring activities’ effectiveness is characterized by declining trends – something that corresponds to the general dynamics of the “post-Soiuzgostsirk” organizational and creative process. Probably one of the decline factors was that of the head organization’s inability to provide the circus system with a properly centralized management. Ukrderzhtsirk has some achievements, in particular, its own brand-name founding, business contacts establishing, organizing of abroad tours for Ukrainian programs. However, the state circus product’s export faces its decline, while the sector of import is not prospective as a foreign product is too expensive. Obviously the current organizational and creative approaches to foreign economic activities performing are in need to be revised. Keywords: Ukrainian circus arts, Soviet circus, touring, Ukrderzhtsirk, Soiuzgostsirk, circus arts enterprise, circus arts product.

scholarly journals Development of Legal Regulation of Pension Provision for Servicemen and Their Families on the Territory of Modern Ukraine (XVIII-XX Centuries)

2019 ◽  
pp. 299-307
Author(s):  
Oleh RADCHENKO
Keyword(s):  
Pension System ◽  
Legal Regulation ◽  
The Social ◽  
Great Patriotic War ◽  
Disability Group ◽  
Post War ◽  
The One ◽  
The Right ◽  
First Time ◽  
Stimulation Of

The peculiarities of legal regulation of pension provision of servicemen and their families on the territory of modern Ukraine in the XVIII–XX centuries are investigated. In particular, it has been established that for the first time the right to pension provision was regulated by Peter I in 1720 in the Marine Statute, which provided service pension, disability pension and survivor’s pension. It was also determined that during the royal period, the provision of pensions was not properly arranged. The new pension system for servicemen began to be built up after the overthrow of the tsarist regime, which was the reason for the October Revolution of the Bolsheviks, but it was far from perfect. Consolidation of the right to pension, its types and conditions of appointment at the normative level did not mean the receipt of pensions. From 1919 till 1924, pension provision for servicemen and their families on the territory of the Ukrainian SSR developed as a republican, in accordance with the regulations of the normative legal acts adopted by the SNK of the UkrSSR, and from 1924, all-Union bodies were formed, therefore further legislation, in particular the one that concerned pension provision, has developed not as a republican, but as all-union. It was also found out that despite the fact that in the period of the Great Patriotic War and the post-war period, the social security of servicemen in general, and pensions in particular, were placed in priority areas, their financial situation and members of their families were at a very low level. It has been established that a number of features of retirement provision for servicemen and members of their families, established in pre-Soviet and Soviet periods, have survived to the present. In particular, it is relevant to types of pensions, stimulation of a later retirement, and differentiation of the size of the pension depending on the disability group, etc.

scholarly journals Eucharistic Themes in Ukrainian Art of the XVII-XVIII centuries: A Review of the Monuments

2019 ◽  
pp. 124-141
Author(s):  
Татьяна Владимировна Денисюк
Keyword(s):  
Comparative Analysis ◽  
Jesus Christ ◽  
Fine Arts ◽  
Art Museum ◽  
National Museum ◽  
Grape Vine ◽  
First Time ◽  
Atoning Sacrifice

Статья посвящена изучению евхаристической тематики в украинском искусстве XVII-XVIII вв. Впервые сделан обзор памятников украинского изобразительного искусства на тему символико-аллегорического изображения темы Евхаристии. В статье приведены примеры икон и картин из собрания Национального музея в Львове, Музея волынской иконы (г. Луцк, Украина), Национального художественного музея Украины (г. Киев), Национального Киево-Печерского историко-культурного заповедника. Анализ композиций позволил выделить и систематизировать символические сюжеты евхаристического содержания. В статье подробно рассматриваются иконы: «Христос Виноградная Лоза», «Христос в точиле», «Христос в чаше», «Недреманное око»; картины: «Пеликан», «Соглядатаи земли Ханаанской», а также другие памятники изобразительного искусства, которые раскрывают христианский догмат Евхаристии, искупительную жертву Христа. Эти сюжеты были широко распространены в иконописи, скульптуре, лицевом шитье, гравюре, резьбе, керамике. Также описаны редкие случаи использования символических сюжетов «Недреманное око» и «Христос Виноградная Лоза» в стенописи. В статье отмечены иконографические особенности каждого сюжета, подробно описаны и проанализированы изображения, проведён сравнительный анализ разных икон с изображением одинакового сюжета, изучен контекст и значение некоторых композиций. The article is devoted to the study of the Eucharistic theme in the Ukrainian art of the XVII-XVIII centuries. For the first time made the review of the monuments of Ukrainian art on the theme of symbolic and allegorical image of the Eucharist theme. The article presents examples of icons and paintings from the collection of the National Museum in Lviv, the Museum of Volyn Icon (Lutsk, Ukraine), the National Art Museum of Ukraine (Kiev), the National Kiev-Pechersk Historical and Cultural Reserve. The analysis of the compositions made it possible to identify and systematize the subjects of the Eucharistic content. The article describes in detail the: “Jesus Christ the Grape-Vine”, “Christ in the winepress”, “Christ in the bowl”, “Undreaming Eye”; pictures: “Pelican”, “The Spies of the land of Canaan” and other monuments of the fine arts, that reveal the Christian dogma of the Eucharist, the atoning sacrifice of Christ.These subjects were widely distributed in icon painting, sculpture, sewing, engraving, carving, and ceramics. The rare instances of the use of the symbolic plots “Undreaming Eye” and “Jesus Christ the Grape-Vine” in murals are described. The iconographic features of each subject are also noted in the article, images are described and analyzed in detail, a comparative analysis of different icons with the image of the same subject was carried out, the context and meaning of some compositions were studied.

State Libraries in Australia

1994 ◽  
Vol 6 (2) ◽  
pp. 115-131 ◽  
Author(s):  
Peter Biskup
Keyword(s):  
British Museum ◽  
The State ◽  
University Education ◽  
University Libraries ◽  
National Library ◽  
Number Of Factors ◽  
Bibliographic Network ◽  
Post War ◽  
The University ◽  
First Time

Australia is a federation of six states, two self-governing territories and a number of external territories. The state libraries were modelled on the British Museum Library and saw themselves as ‘national’ institutions, with a mandate to collect ‘books of all languages and descriptions’. Until the 1950s they remained the backbone of the Australian library system. By 1962, with the expansion of university education, the holdings of the university libraries for the first time equalled the combined resources of the state libraries and the National Library of Australia (NLA). The other development that transformed the post-war library scene was the emergence of the NLA itself from the relative obscurity of the pre-war years. The rivalry that grew up between the state libraries and the NLA was eventually put to rest by a number of factors, including the creation of the Australian Bibliographic Network and the resulting National Bibliographic Database, which made all types of library more interdependent; also the enforced sharing of the new poverty of the 1980s and the early 1990s. However, the state libraries themselves are now better housed, leaner and more efficiently run than they were even a decade ago. The 5.2 million volumes they hold account for almost 13% of the nation's bibliographic resources.

scholarly journals The creative work of Grigory Gurkin and Vasily Sheshunov as students of Ivan Shishkin

2020 ◽  
pp. 91-104
Author(s):  
O.N. Filippova
Keyword(s):  
Comparative Analysis ◽  
Significant Influence ◽  
Far East ◽  
Art Museum ◽  
Creative Work ◽  
Art Gallery ◽  
Imperial Academy ◽  
First Time ◽  
Professional Artist ◽  
Artistic Manner

The article contains a comparative analysis of the work of two artist-students of I.I. Shishkin: Grigory Gurkin (Altai) and Vasily Sheshunov (Far East). Both painters went through the school of the great Russian landscape painter at the Imperial Academy of Arts in St. Petersburg. Grigory Gurkin became one of the most significant masters of Russian realistic landscape in the first third of the 20th century, the first professional artist of Altai. Vasily Sheshunov had an equally significant influence on the formation of the artistic life of Ussuriisk and the entire Primorye. In the context of the continuity of Ivan Shishkin's art school, the genre-thematic originality, artistic manner, and creative method of these two masters are compared for the first time. The material for the study was the paintings of artists from the collections of the Sukachev Irkutsk Regional Art Museum, the Primorye State Art Gallery, the State Art Museum of the Altai Krai, the Tomsk Regional Art Museum. Статья посвящена сравнительному анализу творчества двух художников-учеников И.И. Шишкина: алтайского — Г.И. Гуркина и дальневосточного — В.Г. Шешунова. Оба живописца прошли школу великого русского художника-пейзажиста в Императорской Академии художеств в Санкт-Петербурге. Григорий Иванович Гуркин стал одним из самых значительных мастеров русского реалистического пейзажа первой трети XX века, первым профессиональным художником Алтая. Василий Григорьевич Шешунов оказал столь же существенное влияние на становление художественной жизни Уссурийска и всего Приморья. В контексте преемственности художественной школы И.И. Шишкина жанрово-тематическое своеобразие, художественная манера, творческий метод этих двух мастеров сравниваются впервые. Материалом для исследования послужили живописные полотна художников из собраний Иркутского областного художественного музея им. В.П. Сукачева, Приморской государственной картинной галереи, Государственного художественного музея Алтайского края, Томского областного художественного музея.

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