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Stylistic Symbiosis as the Basis of the Artistic Method of Efim Chestnyakov 契斯尼亚科夫艺术方法的风格共生基础
Q4 Social Sciences Pub Date : 2022-01-01 DOI: 10.37953/2079-0341-2022-2-1-201-210
Maria M. Artamonova
The article traces the connection between the iconographic system of Efim Vasilievich Chestnyakov’s artworks and the Northern European Romantic tradition of the late 19th century, in particular the artworks by the Swedish artist Vicken von Post Börjeson Totten. The researcher concludes that the themes of Chestnyakov’s works are based on the folklore and ethnography of his native Kologriv region, and his visual method is rooted in the principles of neo-romantic art. These two lines are connected through the primitivist approach that is chosen as a vector of a creative path. This approach gives rise to stylistic symbiosis which becomes the basis of the author’s artistic method.
本文追溯了Efim Vasilievich Chestnyakov艺术作品的图像系统与19世纪末北欧浪漫主义传统之间的联系,特别是瑞典艺术家Vicken von Post Börjeson Totten的艺术作品。研究者得出结论,切斯尼亚科夫作品的主题是基于他的家乡Kologriv地区的民间传说和民族志,他的视觉方法植根于新浪漫主义艺术的原则。这两条线通过原始主义的方法连接起来,被选为创造性路径的矢量。这种方法产生了风格的共生关系,成为作者艺术方法的基础。
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引用次数: 0
Stylistic evolution of magazine and book graphics by “Blue Rose” artists “蓝玫瑰”艺术家的杂志和书籍图形的风格演变
Q4 Social Sciences Pub Date : 2022-01-01 DOI: 10.37953/2079-0341-2022-3-1-276-296
D. Fomin
The works of the “Blue Rose” artists in the field of magazine and book design allow us to judge the nature of the stylistic evolution of their graphic language. In the drawings that decorated the pages of periodicals of the 1900s, a single set of techniques is often used, and the fascination of the whole group with the aesthetic ideas of symbolists becomes obvious. But gradually the masters of this circle move away from purely decorative ornamental fantasies, get carried away with solving more complex problems. In the 1920s and 1930s, their desire to overcome the painful extremes and pretentious significance of modernity, the search for a language much more intelligible and concise, became obvious.
“蓝玫瑰”艺术家在杂志和书籍设计领域的作品可以让我们判断他们的图形语言的风格演变的本质。在20世纪装饰期刊页面的绘画中,通常使用一套技术,整个群体对象征主义美学思想的迷恋变得明显。但渐渐地,这个圈子里的大师们从纯粹的装饰幻想中脱离出来,开始醉心于解决更复杂的问题。在20世纪20年代和30年代,他们渴望克服现代性的痛苦极端和矫饰意义,寻求一种更易于理解和简洁的语言,这一点变得显而易见。
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引用次数: 0
The image of Finland at the exhibitions of artists association “Mir Iskusstva” (World of Art) 芬兰在“Mir Iskusstva”(艺术世界)艺术家协会展览中的形象
Q4 Social Sciences Pub Date : 2022-01-01 DOI: 10.37953/2079-0341-2022-1-1-34-47
Nadezhda A. Musyankova
The complex and ambiguous relations between Russia and Finland at the turn of the 19th and 20th centuries were reflected in the cultural sphere, in particular, at the exhibitions of the most “pro-Western” art association of Russia “Mir Iskusstva” (World of Art). The image of Finnish nature, created at the “Mir Iskusstva” (World of Art) exhibitions, revealed the poetic charm of the natural, dim beauty of the northern landscape, which has common features with the Central Russian landscape. He contributed to the formation of a common cultural integrity, allowing researchers to talk about the uniform features of the northern version of the Art Nouveau style, common to both Russian and Finnish art.
在19世纪和20世纪之交,俄罗斯和芬兰之间复杂而模糊的关系反映在文化领域,特别是在俄罗斯最“亲西方”的艺术协会“Mir Iskusstva”(艺术世界)的展览上。在“Mir Iskusstva”(世界艺术)展览上创作的芬兰自然形象,揭示了与俄罗斯中部景观具有共同特征的北方景观自然、朦胧之美的诗意魅力。他为形成一种共同的文化完整性做出了贡献,使研究人员能够讨论俄罗斯和芬兰艺术共同的北方版新艺术风格的统一特征。
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引用次数: 0
On the issue of early painting by Vladimir Tatlin 论弗拉基米尔·塔特林早期绘画问题
Q4 Social Sciences Pub Date : 2022-01-01 DOI: 10.37953/2079-0341-2022-1-1-85-95
Sergey A. Kochkin
The article puts forward the thesis about the need for additional substantiation of the dating of a group of paintings by V.E. Tatlin from the RGALI collection (Moscow), presumably attributed to the end of the 1910s. For the first time, a hypothesis is formulated about the possibility of their creation at the end of the 1920s, so a number a number of pros and cons are considered. As a result of the study of technical and technological aspects, the existing datings of the paintings “Still Life with Melon” and “Lily of the Valley Leaves in a Jug" were corrected. Also on the radiograph of “Still Life with Melon” compositional changes were found, bringing the work in its original version closer to the composition of Mikhail Larionov’s painting “Leaves of lettuce squash”.
这篇文章提出了一个论点,即需要额外的证据来证明来自RGALI收藏(莫斯科)的V.E. Tatlin的一组画的年代,这些画可能是在1910年代末完成的。在20世纪20年代末,人们第一次提出了一个关于它们被创造的可能性的假设,因此考虑了许多利弊。通过技术和工艺方面的研究,对《静物瓜》和《壶里铃兰》两幅画的现有年代进行了修正。此外,在《甜瓜静物》的x光片上发现了构图上的变化,使作品的原始版本更接近米哈伊尔·拉里奥诺夫(Mikhail Larionov)的画作《生菜南瓜的叶子》的构图。
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引用次数: 0
Icons of Ivan Ivanovich Belsky for the Nativity Church on Peski in St Petersburg. Not earlier 1789 – not later 1792 圣彼得堡佩斯基圣诞教堂的伊万·伊万诺维奇·贝尔斯基肖像。不是1789年初,也不是1792年末
Q4 Social Sciences Pub Date : 2022-01-01 DOI: 10.37953/2079-0341-2022-2-1-152-163
S. V. Moiseeva
In February – March 2020 in the Russian Museum an exhibition was opened, called “The Belsky Artists”, dedicated to the 300th anniversary of Ivan Ivanovich Belsky (January 6, 1719 – January 13, 1799) and the 290th anniversary of his younger brothers – Alexey Ivanovich (1729 – May 21, 1796) and Efim Ivanovich (1730 – November 28, 1778) Belsky. The exhibition was one of the first attempts to deal with the works of almost forgotten artists of the 18th century. The exhibition for the first time presented images executed by Ivan Belsky for the Church of the Nativity of Christ on Peski (on Sands) in St Petersburg. Preparing for the event, the researchers discovered that allowed to recreate the history of all three iconostases of the Nativity Church, to prove the authorship of Ivan Belsky in creating the iconostasis of the Nativity of the Virgin and the Nativity (Rozhdestvensky) main iconostasis, as well as to reveal the history of the existence of images after the reconstruction of the Church of the Nativity in the middle of the 19th century. Almost all of Ivan Belsky’s oeuvres from the collection of the Russian Museum were fully restored by the leading specialist Natalia Romanova, which undoubtedly helped to develop a more precise understanding of the painter’s artistic manner.
2020年2月至3月,在俄罗斯博物馆举办了一个名为“贝尔斯基艺术家”的展览,专门纪念伊万·伊万诺维奇·贝尔斯基(1719年1月6日至1799年1月13日)300周年,以及他的弟弟阿列克谢·伊万诺维奇(1729年至1796年5月21日)和埃菲姆·伊万诺维奇(1730年至1778年11月28日)贝尔斯基290周年。这次展览是第一次尝试处理几乎被遗忘的18世纪艺术家的作品。这次展览首次展示了Ivan Belsky为圣彼得堡Peski上的基督诞生教堂(Church of The Nativity of Christ)拍摄的图像。为了准备这次活动,研究人员发现,可以重建所有三个耶稣诞生教堂圣像的历史,以证明伊万·贝尔斯基(Ivan Belsky)创作圣母诞生圣像和耶稣诞生(Rozhdestvensky)主圣像的作者身份,以及揭示19世纪中期耶稣诞生教堂重建后图像存在的历史。俄罗斯博物馆收藏的几乎所有伊万·贝尔斯基的作品都由著名专家娜塔莉亚·罗曼诺娃(Natalia Romanova)进行了全面修复,这无疑有助于更准确地了解这位画家的艺术风格。
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引用次数: 0
Painter and Sculptor in 18th century Russia Issues of Interaction 18世纪俄罗斯画家与雕塑家的互动问题
Q4 Social Sciences Pub Date : 2022-01-01 DOI: 10.37953/2079-0341-2022-2-1-143-151
Andrey A. Karev
Consideration of the interaction issues between painter and sculptor in 18th century Russia is perceived as part of the connections between painting and sculpture in the Age of Enlightenment. The way in which society values the importance of different kinds of art was passed on to their representative artists themselves. Since the beginning of the 18thcentury, new opportunities for cooperation developed, including in secular decorative theme, where muralist and sculptor-decorator were co-authors of the visual part of the ensemble. With the opening of the Academy of Fine Arts, the issues of hierarchy of the most notable arts and the professional mission of representatives of each of the types of fine arts became essential. At the time, manuals and art treatises dealt with ways to resolve tasks common to painter and sculptor, the need for joint efforts to reproduce convincing examples of heroism for the sake of Russian Glory and virtuous existence.
18世纪俄罗斯画家和雕塑家之间的互动问题被认为是启蒙时代绘画和雕塑之间联系的一部分。社会对不同艺术的重要性的评价方式传递给了他们的代表艺术家自己。自18世纪初以来,新的合作机会出现了,包括世俗装饰主题,壁画家和雕刻家装饰家是整体视觉部分的共同作者。随着美术学院的成立,最著名的艺术的等级问题和每一种艺术类型的代表的专业使命变得至关重要。当时,手册和艺术论文处理的是如何解决画家和雕塑家共同的任务,需要共同努力,为了俄罗斯的荣耀和美德的存在,再现令人信服的英雄主义的例子。
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引用次数: 0
Human Soul Sculptor 人类灵魂雕刻家
Q4 Social Sciences Pub Date : 2022-01-01 DOI: 10.37953/2079-0341-2022-3-1-308-316
S. Stupin
The article is written in connection with the comprehensive exhibition project “Blagovestnov. Prophecies of the Present” (April 28 – October 2, 2022). In a carefully thought-out author`s space exposition works by Alexey Blagovestnov, corresponding member of the Russian Academy of Arts, from Pereslavl Museum-Reserve and private collections were combined with the works of Russian wooden sculpture of XVIII-XIX centuries from the collection of Rostov Kremlin, selected by the artist and first shown to the public. The article included direct quotations from an interview conducted by the author of the article in Blagovestnov's Moscow studio.
这篇文章是与“Blagovestnov”综合展览项目有关。“现在的预言”(2022年4月28日至10月2日)。在作者精心策划的空间展览中,俄罗斯艺术学院通讯成员Alexey Blagovestnov的作品,来自Pereslavl博物馆的储备和私人收藏,与罗斯托夫克里姆林宫收藏的十八至十九世纪的俄罗斯木雕作品相结合,由艺术家选择并首次向公众展示。这篇文章直接引用了作者在布拉戈维斯诺夫的莫斯科工作室进行的一次采访。
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引用次数: 0
Сreative work of Cosroe Dusi: style issues (1808–1859) Сreative Cosroe Dusi的作品:风格问题(1808-1859)
Q4 Social Sciences Pub Date : 2022-01-01 DOI: 10.37953/2079-0341-2022-2-1-175-184
J. Arutyunyan
The creative heritage of the Venetian Cosroe Dusi accumulated all the leading artistic styles of the second quarter –middle of the 19th century. Working in Italy, Munich and St Petersburg, the painter created intimate and formal portraits. His historical canvases have absorbed the features of classicism and romanticism with special interest in medieval history. The few landscapes of Cosroe Dusi are close to the romantic concept of spiritualized nature. In sketches from nature and drawings, the influence of the academic art education system is obvious. He also created a number of monumental works in St Isaacʼs Cathedral, and his technique and iconographic solutions indicate an interest in the Russian national tradition. Academic training, classicism, romanticism, historicism are mixed in Dusi’s heritage in complex stylistic dialogue.
威尼斯Cosroe Dusi的创作遗产积累了19世纪下半叶-中期的所有主要艺术风格。在意大利、慕尼黑和圣彼得堡工作期间,这位画家创作了亲密而正式的肖像画。他的历史油画吸收了古典主义和浪漫主义的特点,对中世纪历史特别感兴趣。Cosroe Dusi的少数景观接近于精神化自然的浪漫概念。在写生写生和绘画中,学校美术教育体系的影响是明显的。他还在圣艾萨克大教堂创作了许多纪念性作品,他的技术和肖像解决方案表明了对俄罗斯民族传统的兴趣。学术训练、古典主义、浪漫主义、历史主义在复杂的文体对话中混杂在独思的遗产中。
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引用次数: 0
The world of childhood in the magazine “World of Art” (1898-1904) 《艺术世界》杂志中的童年世界(1898-1904)
Q4 Social Sciences Pub Date : 2022-01-01 DOI: 10.37953/2079-0341-2022-1-1-106-120
D. Abdullina
The article is devoted to the peculiarities of the functioning of the theme of childhood and its relationship with the inner world of artists of the late 19 – early 20 centuries in the journal “World of Art”. The author believes that the children's topic in the magazine was expressed in various forms. The children’s theme is presented in the form of reproductions that demonstrate the publishers’ sympathy for the images of the children of certain artists. Children's images appear as illustrations for the Literary Department. In the location and content of images with children, there is a connection with the text, which refers to the “modern art” and the dispute between modern artists and the previous generation of authors. The resemblance of the artist to the child also became the most important characteristic for affirming his innovation, proximity to the views and tastes of the creators of the magazine.
本文在《艺术世界》杂志上探讨了19世纪末至20世纪初艺术家“童年”这一主题的功能特点及其与内心世界的关系。作者认为,杂志中的儿童话题表现形式多种多样。儿童主题以复制品的形式呈现,表明出版商对某些艺术家的儿童形象的同情。儿童图像作为插图出现在文学系。在儿童图像的位置和内容上,有一种与文本的联系,指的是“现代艺术”,指的是现代艺术家与上一代作者的争论。艺术家与孩子的相似之处也成为肯定他的创新,接近杂志创作者的观点和品味的最重要特征。
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引用次数: 0
A free study of free artists 自由艺术家的自由研究
Q4 Social Sciences Pub Date : 2022-01-01 DOI: 10.37953/2079-0341-2022-3-1-345-349
A. Kostikova
The book “Art on the Roadside. Outsider Art and Inclusive Practices in the Culture of the 20th and Early 21st Centuries” (2022) prepared by the Department of Rolklore and Folk Art of the State Institute of Art Studies includes materials of scientific conferences in memory of Dr. Ksenia Bogemskaya (1947–2010), a great researcher of naive and outsider art. 25 authors from different regions of Russia and other countries examine the borderline areas of art, overview the institutionalization process of the outsider art in Russia, explore the problems of its interpretation and the criteria of aesthetic value, compare it with the development of neo-archaic trends in the naïve and modern art of the twentieth century. The final section of the book describes the practical cooperation as a part of inclusive programs in Russia and abroad.
《路边的艺术》这本书。《20世纪和21世纪初文化中的局外人艺术和包容性实践》(2022)由国立艺术研究院民俗艺术系编写,其中包括纪念伟大的天真和局外人艺术研究者Ksenia Bogemskaya博士(1947-2010)的科学会议资料。来自俄罗斯不同地区和其他国家的25位作者考察了艺术的边缘领域,概述了俄罗斯局外人艺术的制度化过程,探讨了其解释和审美价值标准的问题,并将其与新古典主义naïve和20世纪现代艺术的发展趋势进行了比较。该书的最后一部分描述了作为俄罗斯和国外包容性项目的一部分的实际合作。
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引用次数: 0
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Academia (Greece)
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