Pub Date : 2022-01-01DOI: 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。
{"title":"Stylistic Symbiosis as the Basis of the Artistic Method of Efim Chestnyakov","authors":"Maria M. Artamonova","doi":"10.37953/2079-0341-2022-2-1-201-210","DOIUrl":"https://doi.org/10.37953/2079-0341-2022-2-1-201-210","url":null,"abstract":"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.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70466383","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 : 2022-01-01DOI: 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.
{"title":"Stylistic evolution of magazine and book graphics by “Blue Rose” artists","authors":"D. Fomin","doi":"10.37953/2079-0341-2022-3-1-276-296","DOIUrl":"https://doi.org/10.37953/2079-0341-2022-3-1-276-296","url":null,"abstract":"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.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70466957","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 : 2022-01-01DOI: 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.
{"title":"The image of Finland at the exhibitions of artists association “Mir Iskusstva” (World of Art)","authors":"Nadezhda A. Musyankova","doi":"10.37953/2079-0341-2022-1-1-34-47","DOIUrl":"https://doi.org/10.37953/2079-0341-2022-1-1-34-47","url":null,"abstract":"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.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70465804","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 : 2022-01-01DOI: 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”.
{"title":"On the issue of early painting by Vladimir Tatlin","authors":"Sergey A. Kochkin","doi":"10.37953/2079-0341-2022-1-1-85-95","DOIUrl":"https://doi.org/10.37953/2079-0341-2022-1-1-85-95","url":null,"abstract":"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”.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70465946","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 : 2022-01-01DOI: 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。
{"title":"Icons of Ivan Ivanovich Belsky for the Nativity Church on Peski in St Petersburg. Not earlier 1789 – not later 1792","authors":"S. V. Moiseeva","doi":"10.37953/2079-0341-2022-2-1-152-163","DOIUrl":"https://doi.org/10.37953/2079-0341-2022-2-1-152-163","url":null,"abstract":"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.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70466227","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 : 2022-01-01DOI: 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.
{"title":"Painter and Sculptor in 18th century Russia Issues of Interaction","authors":"Andrey A. Karev","doi":"10.37953/2079-0341-2022-2-1-143-151","DOIUrl":"https://doi.org/10.37953/2079-0341-2022-2-1-143-151","url":null,"abstract":"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.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70466582","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 : 2022-01-01DOI: 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.
{"title":"Human Soul Sculptor","authors":"S. Stupin","doi":"10.37953/2079-0341-2022-3-1-308-316","DOIUrl":"https://doi.org/10.37953/2079-0341-2022-3-1-308-316","url":null,"abstract":"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.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70467011","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 : 2022-01-01DOI: 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.
{"title":"Сreative work of Cosroe Dusi: style issues (1808–1859)","authors":"J. Arutyunyan","doi":"10.37953/2079-0341-2022-2-1-175-184","DOIUrl":"https://doi.org/10.37953/2079-0341-2022-2-1-175-184","url":null,"abstract":"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.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70466472","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 : 2022-01-01DOI: 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.
{"title":"The world of childhood in the magazine “World of Art” (1898-1904)","authors":"D. Abdullina","doi":"10.37953/2079-0341-2022-1-1-106-120","DOIUrl":"https://doi.org/10.37953/2079-0341-2022-1-1-106-120","url":null,"abstract":"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.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70465285","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 : 2022-01-01DOI: 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.
{"title":"A free study of free artists","authors":"A. Kostikova","doi":"10.37953/2079-0341-2022-3-1-345-349","DOIUrl":"https://doi.org/10.37953/2079-0341-2022-3-1-345-349","url":null,"abstract":"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.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70467106","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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