scholarly journals FROM THE STUDIES ON ‘DEGENERATE ART’ TWENTY YEARS AFTER THE WASHINGTON CONFERENCE. SZCZECIN’S CASE (MUSEUM DER STADT STETTIN)

Muzealnictwo ◽  
2019 ◽  
Vol 60 ◽  
pp. 126-142
Author(s):  
Dariusz Kacprzak
Keyword(s):  
Fine Arts ◽  
Departure Point ◽  
Art Collections ◽  
New Objectivity ◽  
Avant Garde ◽  
Art Dealers ◽  
History Of ◽  
German Revolution ◽  
Degenerate Art ◽  
First Time

On 5 August 1937, fulfilling the orders of the Chairman of the Reich Chamber of Fine Arts (Reichskammer der bildenden Künste), a confiscation committee showed up at the City Museum in Stettin, and demanded to be presented by the Director of the institution the Museum’s collection in view of ‘degenerate art’. While ‘hunting’ for the Avant-garde and ‘purging museums’, the Nazis confiscated works that represented, e.g. Expressionism, Cubism, Bauhaus Constructivism, pieces manifesting the aesthetics of the New Objectivity, as well as other socially and politically ‘suspicious’ art works from the late Belle Époque, WWI, German Revolution of 1918–1919, or from Weimer Republic Modernism of the 1920s and 30s. The infamous Munich ‘Entartete Kunst’ Exhibition turned into a travelling propaganda display, presented in different variants at different venues. A three-week show (11 Jan.–5 Feb. 1939) was also held in Stettin, in the Landeshaus building (today housing the Municipality of Szczecin). Provenance studies: biographies of the existing works, often relocated, destroyed, or considered to have been lost, constitute an interesting input into the challenging chapter on German and European Avant-garde, Szczecin museology, and on Pomerania art collections. Side by side with the artists, it was museologists and art dealers who cocreated this Pomeranian history of art. The Szczecin State Archive contains a set of files related to ‘degenerate art’, revealing the mechanisms and the course of the ‘museum purge’ at the Stettin Stadtmuseum. The archival records of the National Museum in Szczecin feature fragments of inventory ledgers as well as books of acquisitions, which provide a particularly precious source of knowledge. The published catalogue of the works of ‘degenerate art’ from the Museum’s collections covering 1081 items has been created on the grounds of the above-mentioned archival records, for the first time juxtaposed, and cross-checked. The mutually matching traces of information from Polish and German archives constitute a good departure point for further more thorough studies.

scholarly journals The Interaction of the State Museum Fund and Museums of the Tatar ASSR in the 1920s

2018 ◽  
Vol 15 (6) ◽  
pp. 754-763 ◽  
Author(s):  
Natalia V. Gerasimova
Keyword(s):  
Fine Arts ◽  
The State ◽  
Public And Private ◽  
Art Collections ◽  
Art Collection ◽  
State Museum ◽  
Scientific Principles ◽  
History Of ◽  
Private Museums ◽  
First Time

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.

scholarly journals Features of the avant-garde directions of European modernism during 1900–1910 in the Ukrainian avant-garde

2019 ◽  
pp. 208-214
Author(s):  
A. Puzyrkova
Keyword(s):  
Turning Point ◽  
Fine Arts ◽  
Russian Empire ◽  
Artistic Expression ◽  
Avant Garde ◽  
History Of ◽  
The Russian Empire ◽  
Specific Manifestation ◽  
Distinct Features ◽  
First Time

During 1900–1910, there was a process of intensive cooperation and mutual enrichment between artists in Western European artistic centers and representatives of the Ukrainian and Russian avant-garde. At the same time, the avant-garde, both in Europe and in the territory of the Russian Empire, forms its own face and features that are reflected in the specificity of the artistic expression of specific groups and trends. The art of the 1900–1910 became a turning point in the history of avant-garde in Europe and in the Ukrainian lands, finally affirming the irreversibility of the phenomenon of avant-gardism. The avant-garde movements evolved rapidly during the period from 1900 to 1930, however, despite certain differences in manifestations, the revolutionary gains of cubism, expressionism and futurism became the foundation of the entire Ukrainian avant-garde. The publication, using examples of cubism, futurism and expressionism, which, deriving from European centers, laid the foundation for the artistic expression of the Ukrainian, as well as Russian avant-garde – cubofuturism, suprematism, constructivism, scrutinizes the features of the avant-garde on Ukrainian territories in the European context. For the first time, it is focused on the differences between the manifestations of Cubism, Futurism, and expressionism in the Ukrainian and European avant-garde. There is a lack of formed groups and program documents of cubism, futurism, and expressionism in the Ukrainian fine art of the 1900-1910, with absolute domination of these areas of artistic expression and formulation. It focuses on the specific manifestations of the Ukrainian and Russian avant-garde that emerged on their base, as well as on the specific manifestation of the Ukrainian avant-garde, the neoprimitivism, which includes the school of Mykhailo Boichuk. The publication emphasizes the importance of suprematism in the Ukrainian avant-garde as a classical avant-garde movement, which had such distinct features as breaking with tradition and well-formed ideological principles outlined in the program documents, which was generally not typical for the Ukrainian avant-garde in the fine arts. As it is known, even the ideological foundations of cubofuturism were not clearly formed by its representatives, Oleksandr Bohomazov and Oleksandra Ekster. It is possible to speak of a formed and declared platform only with respect to the Ukrainian literary avant-garde, where it were the futurists who most clearly positioned themselves.

Using graphics editors as a means of developing students' creative abilities

2021 ◽  
pp. 384-393
Author(s):  
Olga Viktorovna Gavrilova
Keyword(s):  
Information Technology ◽  
Fine Arts ◽  
Technology Program ◽  
Brain Functioning ◽  
Avant Garde ◽  
Ancient Egyptian ◽  
Prior Art ◽  
Large Numbers ◽  
History Of ◽  
The Media

This article discusses a very well-known and frequently used technique for an implementation of a variety of artistic projects - a collage created by means of information technology. The article tells about using collage in higher education for teaching graphics, in particular, raster editors. Graphics editors such as Adobe Photoshop or GIMP are included in the Computer Science and Information Technology program. Students get the opportunity to create graphic images regardless of their prior art education. The introduction of the topic "Creating a collage by means of a raster editor" introduces a creative element into IT disciplines and develops the student's associative thinking at the level of brain functioning. As a rule, raster editors are used to edit an image, not to create it. Therefore, preparation for these classes encourages students to search for the necessary visual material on the Internet. In order to obtain more personal images, a deep study of photography techniques is required. It is also useful to study the history of photo and film collages, their texture and structure. The scope of the collage use is various. This is psychology, teaching foreign languages and, of course, fine arts. Advertising posters that we see in large numbers in the media and transport are also collages. The article traces the history of collage creation from ancient Egyptian history to modern advertising products. It is especially interesting to study the time when collage became a conscious technique. This is a great layer of avant-garde art.

Cultivating Taste, Creating the Modern Subject: Sawt el-Fannan and Art Criticism in 1950s Egypt

2008 ◽  
Vol 42 (1-2) ◽  
pp. 26-31 ◽  
Author(s):  
Dina A. Ramadan
Keyword(s):  
Art Criticism ◽  
Fine Arts ◽  
Departure Point ◽  
Artistic Production ◽  
Modern Subject ◽  
Art Scene ◽  
History Of ◽  
Great Sense ◽  
And Function ◽  
The Voice

This paper is born of two somewhat separate but interrelated concerns: the oft-repeated assertion that there exists no history of art criticism in Egypt, and the greatly felt “absence” of an archive, an organized system of collecting and cataloguing dedicated to the fine arts in Egypt. It is with these two concerns in mind that I propose we approach the journal Sawt el-Fannan (The Voice of the Artist), for it was in response to these perceived shortcomings that this publication—a self-proclaimed pioneer in the field of Egyptian art criticism–was first produced in 1950. Despite the thriving Egyptian art scene of the time (or what is repeatedly referred to by journal contributors as al-nahda al-fanniyya al-haditha), such a movement was seen to lack a certain credibility and effectiveness, of being in danger of a short life in the absence of the appropriate reflection, recording, and documentation. In other words, the establishment of Sawt el-Fannan took place with a great sense of urgency on the part of contributors that reflects much of what was seen to be at stake in the existence of a modern art scene in Egypt. Therefore a close examination of the editorial vision behind Sawt el-Fannan is an important departure point for understanding the ways in which art criticism was being imagined during this period. By delineating the parameters of what Sawt el-Fannan considered to be this field known as “art criticism” or al-naqd al-fanni, we can begin to identify some of the functions it was expected to fulfill, and by extension, begin to address the place and function of art in Egypt at the time. I want to suggest that through its expansive understanding of its field, Sawt el-Fannan produces a complicated and multi-faceted relationship between artistic production and art criticism, one in which its role is both reflective and productive. As will become apparent, the notion of “taste” or al-hassa al-dhawqiyya is central to the objectives of Sawt el-Fannan; what such a publication is ultimately invested in are the wider discourses involved in cultivating a bourgeois artistic awareness and aesthetic sensibilities, what Bourdieu would call cultural competence, as part of the larger project of constructing the modern subject in Egypt.

scholarly journals Oleksandr Ivashutych, a student of Les Kurbas, as a universal figure in the theater of musical comedy

2020 ◽  
Vol 19 (19) ◽  
pp. 345-357
Author(s):  
Yuliia Shchukina
Keyword(s):  
Marriage Market ◽  
Early Period ◽  
Charlie Chaplin ◽  
Avant Garde ◽  
Musical Comedy ◽  
History Of ◽  
Dash Line ◽  
Set Up ◽  
First Time ◽  
Shed Light

Background. Analyzing the origins of the school of Kharkiv Academic Theater of Musical Comedy, we cannot ignore its founders. People’s Artist of the UzSSR O. Ivashutych was a director, head of the theatre (during the 1940s), drama actor from the year of its founding (1929) to 1971. Methods and novelty of the research. The research is based on historicalchronological, biographical, typological, and comparative methods with an element of performances and roles reconstruction. Not much is known about O. G. Ivashutych. The only encyclopedic reference about him (from the “Encyclopedia of Modern Ukraine”) does not shed light on the director’s method, indirectly giving an idea only of the acting range. The work of Yu. Stanishevsky (1970) on the first forty years of musical comedy theaters of Ukraine (“Colors of Ukrainian operetta”) has several useful elements of reconstructions of the roles in the early period of O. Ivashutych’s work. N. Yermakova’s (2012) monograph “The Berezil Culture…” contains facts and important assessments of O. Ivashutych’s activity as a member of the Berezil Art Association. The author of this paper has collected more than 30 articles in the funds of scientific libraries and Specialized music and theater library of Kharkiv, as well as in the archives of KhATMK, and for the first time the information about the work of O. Ivashutych is analyzed. In addition, the actresses who worked with O. Ivashutych were interviewed. Therefore, this study is the first to reveal and systematize peculiarities of the creative path of O. Ivashutych, an actor, director, head of Kharkiv Theater of Musical Comedy. The director made about 40 productions on the stage of Kharkiv Theater of Musical Comedy and in Central Asia, where he was later evacuated. As an actor, O. Ivashutych played more than 100 versatile roles. The article aims to identify and characterize the main stages of the creative path of O. Ivashutych as well as differences between his acting and directing in different aesthetic eras. Results. O. Ivashutych’s creative individuality leaned towards the tragicomedy of Charlie Chaplin and Maryan Krushelnytsky. As a student of Les Kurbas in the Berezil Art Association and a member of the director’s laboratory of this theater, Les Ivashutych mastered the method of the famous avant-garde company, Les Ivashutich mastered the stage method of the famous avant-garde company, skillfully building rhythm of a performance and a role, turning to circusize, grotesque sharpening of images. In his directing work on the stage of the Musical Comedy Theater, O. Ivashutych, as a pupil of “The Berezil”, sought to consistently develop two repertoire trends: the embodiment of the best European classics (often exclusive in the country salon repertoire) and Ukrainian works (musical comedies and operettas by M. Verykivsky, M. Lysenko, O. Riabov). In our opinion, during these years L. Ivashutych drew a dash line of the European repertoire in his theater: he presented unique in the history of Kharkiv Theater of Musical Comedy operettas “The Borgia’s Garter” by K. Kraus, “Jeanne Who Cries and Jean Who Laughs” by J. Offenbach, “Ball at the Savoy” by P. Abraham (1940), “The Marriage Market” by V. Jacobi (1947), “The Eagle Feathers” by F. Farkas (1957), “Fraskita” by F. Lehár (1959), “The Waltz King” by J. Strauss (1961) and the first productions of famous operettas “Rose Marie” by G. Stotgardt and L. Friml (1942), “The Circus Princess” (1947), “Zorika (Gypsy Love)” by F. Lehár (directed by O. Ivashutych in the year of the composer’s death). In addition, O. Ivashutych staged four performances based on the musical comedies of the classic of Ukrainian operetta O. Riabov. The only performance, which could directly reveal the methodology of “The Berezil” was a fantastic comedy “Viy” (1951). The director also impressed with frank theatricality in circus scenes from the Milyutin’s operetta “Circus lights the fires” – together with choreographer A. Gulesco he managed to set up the style related to “girls” from “The Berezil” revues. Conclusions. Olexandr Ivashutych’s acting naturally evolved from the avantgarde of the 1920s – early 1930s, when he created, in particular, an eccentric image of Orpheus in the production of J. Offenbach, to the realistically psychological roles of 1950–1960, performed in a soft comedic manner (Amadeus in “The Bat”, Rooster in “Akulini”, Underwud in “The Kiss of Cianita”). L. Ivashutych worked as a director only during the period of the theater of “socialist realism”, which resulted in the corresponding realistic principles of his productions. However, even in such circumstances the director appreciated and skillfully used bright elements of theatrical imagery (fantasticality in “Viy” by M. Gogol, choreography in the spirit of the revue in “Circus lights the fires”). O. Ivashutych’s activity in Kharkiv Theater of Musical Comedy was based on the significant personal culture of the artist and his worldview of an intelligent leader.

The Ballad of John Latouche

2017 ◽  
Author(s):  
Howard Pollack
Keyword(s):  
Musical Theater ◽  
Leonard Bernstein ◽  
Carson Mccullers ◽  
Frank O'hara ◽  
Stephen Sondheim ◽  
Avant Garde ◽  
Baby Doe ◽  
Ned Rorem ◽  
History Of ◽  
First Time

Born into a poor Virginian family, John Treville Latouche (1914–1956), in his short life, made a profound mark on America’s musical theater as a lyricist and librettist. The wit and skill of his lyrics elicited comparisons with the likes of Ira Gershwin and Lorenz Hart, but he had too, as Stephen Sondheim noted, “a large vision of what musical theater could be,” and he proved especially venturesome in helping to develop a lyric theater that innovatively combined music, word, dance, and costume and set design. Many of his pieces, even if not commonly known today, remain high points in the history of American musical theater, including Cabin in the Sky (1940), Beggar’s Holiday (1946), The Golden Apple (1954), The Ballad of Baby Doe (1956), and Candide (1956). Extremely versatile, he also wrote cabaret songs, participated in documentary and avant-garde film, translated poetry, and adapted plays. Meanwhile, as one of Manhattan’s most celebrated raconteurs and hosts, he established friendships with many notables, including Paul and Jane Bowles, Carson McCullers, Frank O’Hara, Dawn Powell, Ned Rorem, Virgil Thomson, and Gore Vidal—a dazzling constellation of diverse artists all attracted to Latouche’s brilliance and joie de vivre, not to mention his support for their work. This book draws widely on archival collections both at home and abroad, including Latouche’s diaries and the papers of such collaborators as Leonard Bernstein, Duke Ellington, Douglas Moore, and Jerome Moross to tell for the first time the story of this fascinating man and his 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 Густав Хартлауб и «новая вещественность»: выставка, собирание коллекции, судьба

2020 ◽  
pp. 156-167
Author(s):  
A.Y. Koroleva
Keyword(s):  
Weimar Republic ◽  
Social Consciousness ◽  
Russian Language ◽  
Museum Collections ◽  
New Objectivity ◽  
The Social ◽  
German Art ◽  
History Of ◽  
First Time

The author of article views the curator activity of famous German art-historian and director of Mannheim Kunsthalle Gustav Friedrich Hartlaub in the context of the collecting and patronage. His interest to actual art has turned to most large-scaled project in the art of Weimar republic, that fixes the bone of new «neorealistic» art in the period between two world wars, that has got a name «New objectivity» after the Hartlaubs exhibition. The aim of article is the study of Hartlaubs role as a gallerist in the awareness of changing, which have took a place in the German art after expressionism and their fixation in the social consciousness by exhibition actual pieces of art and following acquiring of them for different museum collections. For the first time in Russian language tells this article about the rising of interest to the «New Objectivity», the history of the organization of famous exhibition in 1925 and her tourney about Germany, about the problem, that have took a place, also about the contradictions between the participants of two wings inside the movement. Special attention is given to the fate of collection, which was scattered by Nazi. В контексте рассмотрения проблемы коллекционирования и меценатства автор статьи рассматривает кураторскую деятельность известного немецкого искусствоведа Г.Ф. Хартлауба, чей интерес к актуальному искусству в период Веймарской республики обернулся широкомасштабным проектом, зафиксировавшим рождение нового «неореалистического» направления в искусстве между двумя мировыми войнами, получившего название с легкой руки куратора Мангеймского Кунстхалле «новая вещественность». Целью статьи является изучение роли Хартлауба как галериста в осознании перемен, произошедших в немецком искусстве после экспрессионизма, и фиксации их в общественном сознании путем экспонирования произведений остроактуального искусства и их последующего приобретения музеем в свою коллекцию. Статья впервые в русскоязычной литературе освещает предпосылки возникновения интереса к живописи «новой вещественности», историю организации и последующего турне знаменитой выставки 1925 года, рассматривает те проблемы, с которыми столкнулись организаторы, а также внутренние противоречия между участниками и течениями внутри движения. Отдельное внимание уделено судьбе коллекции, разрозненной нацистскими властями.

scholarly journals Art Discourse of the Yekaterinburg Avant-Garde: From the 1960s Basements to the 1980s Exhibitions

2020 ◽  
Author(s):  
Galina Golynets
Keyword(s):  
Art History ◽  
Freedom Of Expression ◽  
Fine Arts ◽  
Special Role ◽  
State University ◽  
Avant Garde ◽  
The Public ◽  
History Of ◽  
The 1960S ◽  
Age Range

This paper is devoted to the first domestic international conference Avant-Garde Movements in the Soviet Fine Arts: History and Modernity organised by the Department of the Art History of the Ural State University, by the Regional Department of Culture and by the White Gallery under the direction V.A. Malinov. The conference took place on January 19–21, 1990 in Sverdlovsk in the Cinema House. This event, which united art critics of the Urals, Siberia, Moscow, Kiev and Sofia, was one of the first sophisticated attempts to consider the issues faced by art movements which were not officially recognized and, therefore, existed “in the underground”. Due to various objective and subjective circumstances, local cultural strivings of that time were expressed more fully in painting and graphics than in other art forms. Sverdlovsk visual arts became well-known far beyond the region and played a special role in the city’s artistic life. The exhibition focused on the members of the art partnership ”Surikova, 31”. Almost two hundred artists and over six hundred works were presented in the 1987 exhibition. The exhibition stunned the public due to the age range of the artists, the explosion of movements and styles, and most of all the freedom of expression. Since then, exhibition activity has emerged from the basements and become public. Materials from the Ural conference 1990 are still interesting and relevant as part of the history of non-official art both in Sverdlovsk/Yekaterinburg and Russia in general. Keywords: modernism, avant-garde, Artists’ Union, socialist realism, underground, the second avant-garde, nonconformism, postmodernism.

scholarly journals Art Nouveau in the context of realism: Ilya Repin at the turn of two centuries

2022 ◽  
pp. 1-10
Author(s):  
Olga Sergeevna Davydova
Keyword(s):  
Two Dimensions ◽  
Art Nouveau ◽  
Main Subject ◽  
Avant Garde ◽  
Documentary Sources ◽  
Dynamic Potential ◽  
Complex Reconstruction ◽  
History Of ◽  
Artistic Image ◽  
First Time

The main subject of this research is the specificity of I. E. Repin's perception of the dynamics of artistic-aesthetic tasks formed under the influence of changing modernity. In view of this, one of the compositional centers of the research is the history of relationship that developed between I. E. Repin and the artists of the “first wave of symbolism” – members of the association “The World of Art” (primarily, the editor-in-chief of the eponymous journal S. P. Diaghilev, A. N. Benois, K. A. Somov, Y. Y. Lanceray). Special attention is given to the question of perception of I. E. Repin by certain representatives of the avant-garde in 1910s. Developing in the range “attraction – negation”, full of dramatic and comic moments, the dialogue between Repin and younger generation indicates the hastiness of univocal view of realism and Art Nouveau as opposing imagery systems. For the first time, on the current level of scientific comprehension of the aesthetics of symbolism and neo-romanticism, the article analyzes the attitude of I. E. Repin towards the innovative imagery pursuits of the Art Nouveau artists. At the same time, the very concept of Art Nouveau is interpreted in two dimensions: as a certain milestone in the context of the development of the history of art of the late XIX – early XX century; and as an inner dynamic potential embedded by I. E. Repin in his works since the beginning of his creative path. Based on systematization of the artistic and documentary sources and  the method of complex reconstruction of the views of Peredvizhniki and symbolist artists upon the objectives and nature of art, the author concludes that the poetics of art of Ilya Repin, synthesizing the ideas of time, tends to reflect a complicated and distinctive artistic image formed by realistic and idealistic principles.

Sign in / Sign up

Export Citation Format

Share Document