Pub Date : 2020-01-01DOI: 10.37953/2079-0341-2020-2-1-183-193
T. K. Starodub
The article is devoted to one of the popular genres of the illustrating of medieval Arabic manuscripts. Namely, it concerns the visual interpretation of the verbal descriptions of nature, expounded both in the scientific treatises and in the literary works. Specific features of miniature paintings of this genre are largely determined by the deeply-rooted among the Middle East people perceptions of the universe as the genius creation of God. Those are two different, but inseparable and interconnected worlds, celestial and terrestrial ones, and each of them has its own functions, and each of them was populated by inhabitants of completely different appearances, types and habits. The natural (like nature itself) fusion of truth and fiction in the monuments of the verbal, oral and written culture of the Arab Middle Ages gave impetus to the appearance of visual images created by paints and lines. Their numerousness and diversity unfold a panorama of an amazing and incomprehensible world of fantasy and reality in front of the reader-spectator.
{"title":"Images of nature in the arab miniature of the XII-XIV centuries","authors":"T. K. Starodub","doi":"10.37953/2079-0341-2020-2-1-183-193","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-2-1-183-193","url":null,"abstract":"The article is devoted to one of the popular genres of the illustrating of medieval Arabic manuscripts. Namely, it concerns the visual interpretation of the verbal descriptions of nature, expounded both in the scientific treatises and in the literary works. Specific features of miniature paintings of this genre are largely determined by the deeply-rooted among the Middle East people perceptions of the universe as the genius creation of God. Those are two different, but inseparable and interconnected worlds, celestial and terrestrial ones, and each of them has its own functions, and each of them was populated by inhabitants of completely different appearances, types and habits. The natural (like nature itself) fusion of truth and fiction in the monuments of the verbal, oral and written culture of the Arab Middle Ages gave impetus to the appearance of visual images created by paints and lines. Their numerousness and diversity unfold a panorama of an amazing and incomprehensible world of fantasy and reality in front of the reader-spectator.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70463435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.37953/2079-0341-2020-4-1-421-440
Olga E. Etinhof
Old Russian art as a whole was oriented towards the monastic culture of the Byzantine Empire, and this became distinctly clear in the 12th century. The princely community at the early stages of the development of pre-Mongol culture assimilated from Byzantium the court art full of "classical" reminiscences. New finds of fresco fragments of the Church of the Annunciation on Hillfort and the St. George Cathedral of the Yuriev monastery in Novgorod clearly demonstrate that aristocratic traditions, with elements of the “classics” penetrated into Russia during the reign of the House of Monomakh. These traditions spread beyond the boundaries of the Kiev land and Southern Russia and manifested themselves in the monuments of Novgorod. They were alive not only in the 11th century, but throughout the entire first third of the 12th century. This situation was quite consistent with the preservation of the practice of the princely order.
{"title":"“Classical” heritage in Byzantine and pre-Mongol art of the late 11th – early 12th centuries.","authors":"Olga E. Etinhof","doi":"10.37953/2079-0341-2020-4-1-421-440","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-4-1-421-440","url":null,"abstract":"Old Russian art as a whole was oriented towards the monastic culture of the Byzantine Empire, and this became distinctly clear in the 12th century. The princely community at the early stages of the development of pre-Mongol culture assimilated from Byzantium the court art full of \"classical\" reminiscences. New finds of fresco fragments of the Church of the Annunciation on Hillfort and the St. George Cathedral of the Yuriev monastery in Novgorod clearly demonstrate that aristocratic traditions, with elements of the “classics” penetrated into Russia during the reign of the House of Monomakh. These traditions spread beyond the boundaries of the Kiev land and Southern Russia and manifested themselves in the monuments of Novgorod. They were alive not only in the 11th century, but throughout the entire first third of the 12th century. This situation was quite consistent with the preservation of the practice of the princely order.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70464260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.37953/2079-0341-2020-4-1-488-499
S. Kozlova
The article, entitled «The Classical Tradition in its Development», included into the present collection research, pays special attention to classical line in landscape of Italian Renaissance, with its Bucolic matter being the essence of it. The author outlines the scheme of ancient Bucolic, correlates it with the analysis of the vision of the Renaissance Pastoral, which is here depicted in development from initial model of the Pastoral to its new, complicated one. The author traces back the traditional interpretation of the Renaissance conception of the Pastoral in its multidimensional nature, and also, in its saturation with Bucolic, literary-mythological, philosophical meanings. This perspective allows concluding that the motif of the Pastoral landscape acquires deep substantive content in Renaissance paintings, thus becoming the constructing basis for other types of landscapes – mythological, biblical, allegorical among them.
{"title":"The classical topics of a landscape in the Italian Renaissance","authors":"S. Kozlova","doi":"10.37953/2079-0341-2020-4-1-488-499","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-4-1-488-499","url":null,"abstract":"The article, entitled «The Classical Tradition in its Development», included into the present collection research, pays special attention to classical line in landscape of Italian Renaissance, with its Bucolic matter being the essence of it. The author outlines the scheme of ancient Bucolic, correlates it with the analysis of the vision of the Renaissance Pastoral, which is here depicted in development from initial model of the Pastoral to its new, complicated one. The author traces back the traditional interpretation of the Renaissance conception of the Pastoral in its multidimensional nature, and also, in its saturation with Bucolic, literary-mythological, philosophical meanings. This perspective allows concluding that the motif of the Pastoral landscape acquires deep substantive content in Renaissance paintings, thus becoming the constructing basis for other types of landscapes – mythological, biblical, allegorical among them.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70464293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.37953/2079-0341-2020-2-1-273-276
E. Fedotova
The article is devoted to the history of the creation of sketches for murals of Pantheon of Paris in 1848 by French painter Paul Chenavard. The work was commissioned by the State in the reign of Louis-Philippe. In the period of the Second Empire these sketches were rejected by fine arts administration of Napoleon III. In the graphic series the painter attempted to imagine the theory of three stages of the development of society in the light of the positivism and in the manner of German “Die Nazarener”. The sketches of Chenavard don’t were transferred to the walls of Pantheon and at present they are kept at the Musée des Beaux-Arts of Lyon. The sketches were an example of the quest for new forms in the monumental decorative art of France, richness of the content and meaningful images. The article quotes opinions of the famous art critics (Ch. Baudelaire, Th. Silvestre, Ch. Blanc, A. Houssaye) and painter’s contemporaries (E. Delacroix, Au. Rodin, E. Zola).
本文介绍了法国画家保罗·切纳瓦德(Paul Chenavard)在1848年为巴黎先贤祠壁画创作草图的历史。这项工作是路易-菲利普统治时期国家委托完成的。在第二帝国时期，这些素描被拿破仑三世的美术管理部门拒绝。在这一系列的图画中，画家试图以实证主义的观点和德国的“拿撒勒纳”的方式来想象社会发展的三个阶段的理论。切纳瓦德的素描没有被转移到万神殿的墙上，目前它们被保存在里昂的美术博物馆。这些草图是法国纪念性装饰艺术中寻求新形式的一个例子，内容丰富，图像有意义。这篇文章引用了著名艺术评论家波德莱尔的观点。西尔维斯特，Ch. Blanc, A. Houssaye)和同时代的画家(E. Delacroix, Au。罗丹，左拉)。
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Pub Date : 2020-01-01DOI: 10.37953/2079-0341-2020-2-1-285-289
Olga A. Yartseva
The main subjects of this article are themes and images in the works of the American artist Edward Hopper, as well as their interpretations. Hopper believed that his paintings were personal statements, results of inner experience. Therefore, some paintings could be considered as a kind of psychological introspections. Many of his works illustrate the absence of close relationship between heroes who seem to be withdrawn and detached, incapable to make any contact.
{"title":"Poetics of Reality in the Work of Edward Hopper","authors":"Olga A. Yartseva","doi":"10.37953/2079-0341-2020-2-1-285-289","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-2-1-285-289","url":null,"abstract":"The main subjects of this article are themes and images in the works of the American artist Edward Hopper, as well as their interpretations. Hopper believed that his paintings were personal statements, results of inner experience. Therefore, some paintings could be considered as a kind of psychological introspections. Many of his works illustrate the absence of close relationship between heroes who seem to be withdrawn and detached, incapable to make any contact.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70463237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.37953/2079-0341-2020-2-1-248-256
Yulia. N. Zvezdina
The author analyzes the features of the image of the heart in the European religious emblems of the 17th century. The author examines several books of emblems, starting with the publication of Daniel Kramer, who had a definite influence on other authors. This article deals with his “Emblemata Sacra”, or “Emblemata ex Sacra Scriptura”, published in 1624 (the first edition of the Kramer emblems was released in 1617). After that, the author refers to the books of emblems of Johann Mannich (“Sacra Emblemata”, 1624), Francesco Pona (“Cardiomorphoseos, sive, Ex corde desumpta emblemata sacra”, 1645), as well as the treatise of Benedict Haeften (Schola cordis, sive Aversi a deo cordis, ad eumdem reductio et instructio, 1629). This article focuses on the reflection of the theme of the heart in the Russian religious culture of the same time. The comparison is carried out primarily on the example of the Book of Ioanniky Galyatovsky “The Key of Perception” (“Klyuch razumeniya”), first published in Kiev in 1659.
作者分析了17世纪欧洲宗教象征中心形形象的特点。作者考察了几本象征的书，从丹尼尔克莱默的出版开始，他对其他作者有一定的影响。这篇文章是关于他在1624年出版的《神圣象征》，或《神圣象征》(《克莱默象征》的第一版于1617年发行)。在此之后，作者参考了约翰·曼尼希(1624年)，弗朗西斯科·波纳(1645年)的象征书，以及本尼迪克特·海夫登(1629年)的论文(Schola cordis, sive avversi a deo cordis, and eumdem reductio et instructio)。本文着重探讨了“心”这一主题在同一时期俄罗斯宗教文化中的体现。比较主要是在Ioanniky Galyatovsky的书“感知的关键”(“Klyuch razumeniya”)的例子上进行的，该书于1659年在基辅首次出版。
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Pub Date : 2020-01-01DOI: 10.37953/2079-0341-2020-3-1-352-369
Irina M. Marisina
This article is dedicated to the pedagogic practice and principles of J.-M Vien, a professor of the French Royal Academy of Painting and Sculpture, and the Parisian mentor of the stipendiats of the St. Petersburg Imperial Academy of Arts. Over the course of many years the artist strove to ingrain in his pupils a singular manner of seeing and thinking, based on incessant studies from nature. A thorough examination of classical and Old Masters’ artistic heritage – another essential part of the educational process – was called upon to develop a creative independence of talents. The author presents here an attempt to analyse what exactly Vien believed to be “exemplary”: works of art deserving of primary attention; the creators who charted out the fundamentals of the artistic upbringing. Staying true to his “principes positifs” led to Vien’s tutorial longevity and gained him, in his lifetime, the reputation of an “exemplary” teacher and the “reviver” of the French School of painting.
{"title":"“The Manner of seeing and thinking”: Exemplars of J.-M. Vien (1717–1809)","authors":"Irina M. Marisina","doi":"10.37953/2079-0341-2020-3-1-352-369","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-3-1-352-369","url":null,"abstract":"This article is dedicated to the pedagogic practice and principles of J.-M Vien, a professor of the French Royal Academy of Painting and Sculpture, and the Parisian mentor of the stipendiats of the St. Petersburg Imperial Academy of Arts. Over the course of many years the artist strove to ingrain in his pupils a singular manner of seeing and thinking, based on incessant studies from nature. A thorough examination of classical and Old Masters’ artistic heritage – another essential part of the educational process – was called upon to develop a creative independence of talents. The author presents here an attempt to analyse what exactly Vien believed to be “exemplary”: works of art deserving of primary attention; the creators who charted out the fundamentals of the artistic upbringing. Staying true to his “principes positifs” led to Vien’s tutorial longevity and gained him, in his lifetime, the reputation of an “exemplary” teacher and the “reviver” of the French School of painting.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70463751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.37953/2079-0341-2020-3-1-334-340
Nadezhda V. Nefedova
The article “The engravings depicting the Apostles, executed at the Mikhail Artemyev factory: the use of sources and the creative search” is devoted to the engravings from the collection of the Archaeological Church Museum of St.Tikhon's Orthodox University. The mezzotint engravings were created at Moscow between 1760–1773, probably, with the help of German engraver Johann Stenglin (1710/1715–1776). The engravers did not directly copy any originals. These works show a certain similarity to several engravings by the French engraver Francois de Louvemont (1648–?). Some details of the Moscow engravings correspond to the illustrations from the Bible made by Nicolas Joannes Piscator (1586–1652). In the engravings from the Artemyev factory, we can see a greater degree of creative freedom of their authors, an independent search for an artistic solution, although the result of this process is not always perfect.
{"title":"The engravings depicting the Apostles, executed at the Mikhail Artemyev factory: the use of sources and the creative search","authors":"Nadezhda V. Nefedova","doi":"10.37953/2079-0341-2020-3-1-334-340","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-3-1-334-340","url":null,"abstract":"The article “The engravings depicting the Apostles, executed at the Mikhail Artemyev factory: the use of sources and the creative search” is devoted to the engravings from the collection of the Archaeological Church Museum of St.Tikhon's Orthodox University. The mezzotint engravings were created at Moscow between 1760–1773, probably, with the help of German engraver Johann Stenglin (1710/1715–1776). The engravers did not directly copy any originals. These works show a certain similarity to several engravings by the French engraver Francois de Louvemont (1648–?). Some details of the Moscow engravings correspond to the illustrations from the Bible made by Nicolas Joannes Piscator (1586–1652). In the engravings from the Artemyev factory, we can see a greater degree of creative freedom of their authors, an independent search for an artistic solution, although the result of this process is not always perfect.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70464024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.37953/2079-0341-2020-3-1-399-403
Irina Yu. Chmyreva
Review on the exhibition of photographer Gleb Kosorukov in Museum of Moscow. The actuality of photographic presentations within the museum activity is emphasized. The review includes the historical parallels for Kosorukov’s work and underlines the innovation of his photographic project.
{"title":"The Bolshoi of Kosorukov, the photographer Exhibition Gleb Kosorukov. Curtain in Museum of Moscow","authors":"Irina Yu. Chmyreva","doi":"10.37953/2079-0341-2020-3-1-399-403","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-3-1-399-403","url":null,"abstract":"Review on the exhibition of photographer Gleb Kosorukov in Museum of Moscow. The actuality of photographic presentations within the museum activity is emphasized. The review includes the historical parallels for Kosorukov’s work and underlines the innovation of his photographic project.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70464109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.37953/2079-0341-2020-1-1-33-40
Svetlana V. Usacheva
The article is devoted to the living conditions in which still life painting existed in Russian art in the second half of the 19th century. Still life painting occupied a peripheral position in the genre structure, but continued to play an important role in the educational and creative practice of realist artists. Special attention is paid to the works of Vassily Surikov, in which objective motifs were not only an important part of compositional solution, but also an indicator of the transformation of the artistic vision of the era in general.
{"title":"Genre out of genre. Still life painting in Russian art of the second half of the 19th century","authors":"Svetlana V. Usacheva","doi":"10.37953/2079-0341-2020-1-1-33-40","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-1-1-33-40","url":null,"abstract":"The article is devoted to the living conditions in which still life painting existed in Russian art in the second half of the 19th century. Still life painting occupied a peripheral position in the genre structure, but continued to play an important role in the educational and creative practice of realist artists. Special attention is paid to the works of Vassily Surikov, in which objective motifs were not only an important part of compositional solution, but also an indicator of the transformation of the artistic vision of the era in general.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70462263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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