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.

From the history of the military past of composer and conductor Boris Galaev

2020 ◽  
pp. 39-44
Author(s):  
Felix S. Kireev
Keyword(s):  
First World War ◽  
World War ◽  
Documentary Sources ◽  
Musical Activity ◽  
Russian State ◽  
The First World War ◽  
History Of ◽  
The Military ◽  
First Time ◽  
First World

Boris Alexandrovich Galaev is known as an outstanding composer, folklorist, conductor, educator, musical and public figure. He has a great merit in the development of musical culture in South Ossetia. All the musical activity of B.A. Galaev is studied and analyzed in detail. In most of the biographies of B.A. Galaev about his participation in the First World War, there is only one proposal that he served in the army and was a bandmaster. For the first time in historiography the participation of B.A. Galaev is analyzed, and it is found out what positions he held, what awards he received, in which battles he participated. Based on the identified documentary sources, for the first time in historiography, it occured that B.A. Galaev was an active participant in the First World War on the Caucasian Front. He went on attacks, both on foot and horse formation, was in reconnaissance, maintained communication between units, received military awards. During this period, he did not have time to study his favorite music, since, according to the documents, he was constantly at the front, in the battle formations of the advanced units. He had to forget all this heroic past and tried not to mention it ever after. Therefore, this period of his life was not studied by the researchers of his biography. For writing this work, the author uses the Highest Orders on the Ranks of the Military and the materials of the Russian State Military Historical Archive (RSMHA).

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.

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 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.

scholarly journals Legends and Facts About the Life of M. A. Dostoevsky in Darovoe (1837—1839)

2021 ◽  
Vol 8 (1) ◽  
pp. 42-60
Author(s):  
Albina Bessonova
Keyword(s):  
Holy Spirit ◽  
Oral Tradition ◽  
State Archive ◽  
Fyodor Dostoevsky ◽  
Documentary Sources ◽  
Archival Documents ◽  
The Holy Spirit ◽  
History Of ◽  
First Time ◽  
The Village

The history of the Dostoevsky estate Darovoe, which is an important period in the life of Fyodor Dostoevsky, still contains unresolved issues. The most ambiguous is the fate of the writer's father, who ended his days in Darovoe. The cause of the tragic death of M. A. Dostoevsky and the place of his burial are still controversial. The document from the State Archive of the Tula region, published for the first time, allows to dispel all doubts about the location of the grave of M. A. Dostoevsky. The article examines the history of the issue, including oral tradition, analyzes well-known documentary sources, and the entry in the metric book of the Holy Spirit Church of the village Monogarovо in 1839 confirms the testimony of A. M. Dostoevsky about the burial of his father in the churchyard. The fact of M. A. Dostoevsky's affair with the house serf Ekaterina Alexandrova is questioned, since it was based on rumors and undocumented. The author analyzes the oral tradition phenomenon and its influence on the formation of the image of M. A. Dostoevsky as a cruel landowner killed by peasants out of revenge. New archival documents allow us to revise the stereotypes that have become entrenched in Dostoevsky studies.

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.

scholarly journals "To Unite Telescope and Microscope": Concerning An Attempt to Solve Methodological and Source Studies Problems of Studying the History of the Russian Peasant Family of the Yepifan Uezd in the 16th – 20th Centuries

2021 ◽  
pp. 1265-1272
Author(s):  
Igor N. Yurkin ◽  
Keyword(s):  
Large Scale ◽  
High Reliability ◽  
Archival Studies ◽  
Human Communication ◽  
Documentary Sources ◽  
Russian Scientific ◽  
Source Studies ◽  
History Of ◽  
Peasant Family ◽  
First Time

The article assesses source and archival studies aspects of the V. P. Kozlov’s book “Remove to history ...”: The Peasant Family and Settlement of the Tula Region in the 16th – 20th Centuries. It is the first volume of the study, covering the period up to 1917. The work is devoted to the history and culture of the Yepifan uezd. This uezd is considered in two ways: as a territory, including the villages where the author’s ancestors lived, and as a part of its surroundings. The state of the territory is described for several periods. Via stepwise immersion accompanied by detailing of material, the author advances the restoration of the history of villages and their inhabitants. In the Russian scientific literature, an experience of large-scale and consistent implementation of this approach is a unique case. The author analyzes it theoretically, bringing it into correlation with trends of modern historical science and demonstrating its effectiveness. To study the history of the Yepifan uezd, a significant amount of documents, both published and stored in the archives, has been involved for the first time. V.P. Kozlov divides sources into three classes. In line with his approach used in his works on archeography, he characterizes eight types of sources. Among sources of personal provenance, he underscores oral history documents — records of his relatives’ memoirs collected over the years. He points to the cognitive heterogeneity of these sources: he emphasizes the need to take into account the “author's angles,” notes high reliability of correspondence, especially between relatives. Isolation by V. P. Kozlov of a special class of sacred documentary sources is new. The author refers to these documents as reflecting “relations with the sacred ... beliefs, convictions and symbols” and capturing “the sacrament of human communication with... extrahuman authority.” As an example, he cites his grandmother’s nightly prayers and recordings of miracles of St. Matrona of Moscow. V. P. Kozlov notes an abundance of such sources in the Russian archives. Identifying gaps in sources, he explains the reasons for different preservation of documentary complexes. He dwells on research methods that can partially compensate for the insufficiency of sources. He took some risk in choosing the inhabitants of a small village as main characters of his research. The analysis of source study and archival aspects of his research proves that such work can be successfully carried out even with insufficient sources.

scholarly journals The Problem of Scientific Approach to Studying Genealogy of the Muralist Sculptor, People's Artist of Russia V. M. Klykov

2021 ◽  
pp. 615-625
Author(s):  
Tatyana I. Dolzhenkova ◽  
Keyword(s):  
Military Service ◽  
Objective Assessment ◽  
Documentary Sources ◽  
Nazi Occupation ◽  
History Of ◽  
The Subject ◽  
The Russian Federation ◽  
Professional Critics ◽  
The Military ◽  
First Time

The famous Soviet and Russian sculptor V. M. Klykov (1939-2006), winner of state prizes of the RSFSR and the USSR, People's Artist of Russia, Honored Artist of the Russian Federation, was an ambiguous figure in the eyes of his contemporaries. His caught the attention not only of professional critics, but also of ordinary people. Many publications and memoirs dedicated to the sculptor had been published during his lifetime. However, V. M. Klykov himself gave contradictory information on the history of his family in his interviews. At the same time, a complete and objective assessment of his life and work and his role in art is impossible without studying his social origin and family history, which determined the relevance of this work. Until now, the history of the Klykov family has been reconstructed from stories and memoirs of those who knew him personally. The study has also been hampered by the fact that there are misconceptions about V. M. Klykov’s ancestors that often spring from desire to create a certain image that fits the worldview of the famous sculptor. The purpose of the study has been to identify and analyze the documentary sources on the subject: archival materials, documents from the museum collection and periodicals. The fonds of the State Archive of the Kursk Region (GAKO) have provided most sources. However, destruction of the archives during the Civil War and the Nazi occupation resulted in a lack of documents and photographs from the early 20th century. Some information has been found in databases available on the Internet. A number of documents are being introduced into scientific use for the first time. The study is based on the key principles of historicism, consistency, and objectivity, which allows the author to avoid mythologization of the sculptor. Comparative analysis of the identified sources has allowed the author to trace V. M. Klykov’s genealogy up to the mid-19th century, to identify the names of his ancestors, to note the family’s difficult fate through the pivots of Russian history, to determine V. M. Klykov’s ancestors and to explore their biographies, achievements, and social status. Several representatives of the Klykov family have been identified, who showed themselves worthily in the military service of the Fatherland. In addition, the author has refuted the tale of the sculptor's grandfather ‘s de-kulakization and persecution by the Soviet power. The author concludes that peasant origin and environment in which the sculptor grew up left an imprint on his worldview, and therefore, on the theme of his monumental creativity and ideas that he defended in public life.

scholarly journals Prishvin and Stalin: Artistic Image of the Leader in Writer’s Work

2021 ◽  
pp. 254-270
Author(s):  
A. M. Podoksenov ◽  
V. A. Telkova
Keyword(s):  
Foreign Affairs ◽  
Soviet Period ◽  
Soviet Society ◽  
The Novel ◽  
History Of ◽  
The Subject ◽  
Characteristic Features ◽  
Artistic Image ◽  
First Time ◽  
Personal Assessment

The relevance of the study is due to the fact that the subject of the article is the question of who was the real prototype of the Chekist Sutulov in Prishvin’s novel “Tsar’s road”, which has not yet been considered in the history of foreign affairs. It is shown that in Russian literature it is difficult to find master of the pen, whose work would be to the same extent conditioned by the influence of the ideological and political context. The novelty of the research lies in the fact that for the first time an attempt was made to show how, through the artistic image of the Chekist Sutulov, one of the main characters of the novel “Tsar’s Road”, Prishvin seeks to reflect the ideo-logical and political attitudes, characteristic features of behavior, style of thinking and speech of Stalin. Particular attention is paid to the analysis of the 18-volume “Diary” of the writer, which was not previously published due to censorship restrictions, which became available to the reader only in the post-Soviet period. It is shown that, through the artistic image of Sutulov, Prishvin gives his personal assessment of Stalin’s role in the development of the state, striving to artistically faithfully and truthfully reflect the characteristic features of that atmosphere of economic, political and spiritual super-tension in which Soviet society lived in the 1930s on the eve of the Great Patriotic War.

The History of One Telegram: Palestine, the Fashoda Incident, and Kaiser Wilhelm II

2018 ◽  
pp. 443-454
Author(s):  
Mikhail S. Shapovalov ◽  
Keyword(s):  
Historical Analysis ◽  
Objective Evaluation ◽  
Foreign Affairs ◽  
Historical Sources ◽  
Documentary Sources ◽  
History Of ◽  
The Russian Empire ◽  
First Time ◽  
Information Basis

The article studies historical sources (diplomatic notes, correspondence, telegrams of the employees of the Russian Ministry of Foreign Affairs) and presents a content analysis and a systematization. Most documents are being introduced into scientific use for the first time. The information basis is formed by previously unpublished materials of the Political Archive from the Archive of the Foreign Policy of the Russian Empire. The article attempts to characterize the documentary sources found in the archival file ‘The Journey of Emperor Wilhelm to Palestine’ that are dedicated to the Fashoda incident. The validity of the hypotheses of relevance of microhistorical plots in objective evaluation of crucial historical events is verified by traditional methods of historical research: comparative historical analysis, chronological approach, retrospective and perspective methods. The method of historical reconstruction helps to narrate the episode of Emperor Nicholas II’s telegram to Kaiser Wilhelm II in the circumstances of the developing Fashoda crisis. The author takes into account the assessments found in Russian sources. A variety of official and unofficial documents allows to clarify and to correct existing ideas about the resolution of the Fashoda question in 1898. The article is the first to examine the history of the Fashoda crisis in the diplomatic correspondence between Nicholas II and Wilhelm II. The correspondence focuses on the role of Russian consul-general in Beirut K. N. Lishin. The author concludes that Lishin's excessive diligence and fear to harm his own career bolstered the diplomatic incident concerning the telegram and compounded the diplomatic situation around Fashoda. The archival file ‘The Journey of Emperor Wilhelm to Palestine’ yet again demonstrates a strong connection between the event and the policies of the great powers in the Middle East and Europe. To understand the history of international relations it is important to research not just the relevant topics and cases, but to study the whole complex of diplomatic sources of the period.

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