Pub Date : 2021-01-01DOI: 10.37953/2079-0341-2021-3-1-244-254
N. Getashvili
Vasily Surikov’s and Piotr Konchalovsky’s kinship, the kinship of representatives of different generations of Russian art and various creative aspirations, is considered in the aspect of creative interconnections and in the context of the cultural processes of the early 20th century. Here it should be remembered their similar modus vivendi, and joint trips to Siberia, Surikovʼs homeland, to Krasnoyarsk, and also to Europe – Germany, or France, Spain; common views on classics; their joint work at the art studio of H. Anglada Camarasa in Paris and their sketches done while traveling.
{"title":"Surikov and Konchalovsky: closest of kin","authors":"N. Getashvili","doi":"10.37953/2079-0341-2021-3-1-244-254","DOIUrl":"https://doi.org/10.37953/2079-0341-2021-3-1-244-254","url":null,"abstract":"Vasily Surikov’s and Piotr Konchalovsky’s kinship, the kinship of representatives of different generations of Russian art and various creative aspirations, is considered in the aspect of creative interconnections and in the context of the cultural processes of the early 20th century. Here it should be remembered their similar modus vivendi, and joint trips to Siberia, Surikovʼs homeland, to Krasnoyarsk, and also to Europe – Germany, or France, Spain; common views on classics; their joint work at the art studio of H. Anglada Camarasa in Paris and their sketches done while traveling.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70465190","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 : 2021-01-01DOI: 10.37953/2079-0341-2021-3-1-282-292
Alexander K. Jakimovicz
Caravaggio (1571–1610) chronologically opens (or prepares) the new stage of art history known as Modernity. He must be finally ranked among the troublemakers – the aesthetic and socio-cultural rebels of this era. This idea belongs to Russian art historians Evsey Rotenberg and Marina Sviderskaya and explores Caravaggio’s artistic development from early stages of “nasty anecdotes” to mature works on biblical themes treated in a challenging manner.
{"title":"Caravaggio: The Troublemaker and Revolutionary","authors":"Alexander K. Jakimovicz","doi":"10.37953/2079-0341-2021-3-1-282-292","DOIUrl":"https://doi.org/10.37953/2079-0341-2021-3-1-282-292","url":null,"abstract":"Caravaggio (1571–1610) chronologically opens (or prepares) the new stage of art history known as Modernity. He must be finally ranked among the troublemakers – the aesthetic and socio-cultural rebels of this era. This idea belongs to Russian art historians Evsey Rotenberg and Marina Sviderskaya and explores Caravaggio’s artistic development from early stages of “nasty anecdotes” to mature works on biblical themes treated in a challenging manner.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70465230","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 : 2021-01-01DOI: 10.37953/2079-0341-2021-3-1-293-308
V. Aronov
The article focuses on the exhibition activities of the Russian Academy of Arts after the reorganization of the USSR Academy of Arts in 1992. The author analyzes how new expositional principles of showing modern artistic practices connected with Russian art tradition were developed during that difficult transition period. Among them one can single out exhibitions dedicated to the creative heritage of famous dynasties of Russian artists (including the Vasnetsovs, Zhilinsky, Rukavishnikovs, etc.). The development of the Academy exhibition activities was closely connected with the preparation of its exhibition halls which required restoration and the opening of the adjacent Zurab Tsereteli Art Gallery.
{"title":"Exhibitions of the Russian Academy of Arts (1992 – early 2000s)","authors":"V. Aronov","doi":"10.37953/2079-0341-2021-3-1-293-308","DOIUrl":"https://doi.org/10.37953/2079-0341-2021-3-1-293-308","url":null,"abstract":"The article focuses on the exhibition activities of the Russian Academy of Arts after the reorganization of the USSR Academy of Arts in 1992. The author analyzes how new expositional principles of showing modern artistic practices connected with Russian art tradition were developed during that difficult transition period. Among them one can single out exhibitions dedicated to the creative heritage of famous dynasties of Russian artists (including the Vasnetsovs, Zhilinsky, Rukavishnikovs, etc.). The development of the Academy exhibition activities was closely connected with the preparation of its exhibition halls which required restoration and the opening of the adjacent Zurab Tsereteli Art Gallery.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70465271","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 : 2021-01-01DOI: 10.37953/2079-0341-2021-1-1-55-71
Olga S. Davydova
The article gives an analytical review of the visual poetics of the works of Mir iskusstva (World of Art) artistic group in the context of the relationship of the innovative features of the Art Nouveau with the Past. The perception of Time through the images of Art, inherent in the symbolist worldview, is considered as one of the main sources that gives the retrospective dreams of the leading World of Art masters the character of a subjectively significant poetic longing for an ideal. Nostalgia for the imaginary past, the appropriation of its artistic reality to its own inner world, led the artists of the group to the path of turning a “quote” into a “self-citation”, a “sample” into an “image”, a “copy” into a “likeness”. This process expanded the semantic component of the artistic language, opening up new possibilities for the synthesis of the past and the presentin the creative practice of the first third of the 20th century.
{"title":"The Past as “self-citations”: The 18th century and its creative reflection in the works of the members of the World of Art Movement","authors":"Olga S. Davydova","doi":"10.37953/2079-0341-2021-1-1-55-71","DOIUrl":"https://doi.org/10.37953/2079-0341-2021-1-1-55-71","url":null,"abstract":"The article gives an analytical review of the visual poetics of the works of Mir iskusstva (World of Art) artistic group in the context of the relationship of the innovative features of the Art Nouveau with the Past. The perception of Time through the images of Art, inherent in the symbolist worldview, is considered as one of the main sources that gives the retrospective dreams of the leading World of Art masters the character of a subjectively significant poetic longing for an ideal. Nostalgia for the imaginary past, the appropriation of its artistic reality to its own inner world, led the artists of the group to the path of turning a “quote” into a “self-citation”, a “sample” into an “image”, a “copy” into a “likeness”. This process expanded the semantic component of the artistic language, opening up new possibilities for the synthesis of the past and the presentin the creative practice of the first third of the 20th century.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70464313","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 : 2021-01-01DOI: 10.37953/2079-0341-2021-2-1-178-184
Ildar H. Mustafin
Islamic art is multifaceted and has a great history in fine arts. Religious art, including Islamic themes, is closely intertwined with culture, philosophy, religious knowledge and especially with the history of our country. Let us consider the specific form of Muslim art that has existed since ancient times: shamail, a peculiar phenomenon of Islamic culture and an important part of religious and aesthetic consciousness. Shamail is an art form as a carrier of written Quranic content – texts in the form of a sura from the Holy Quran with particular design consisting of images of mosques or fortresses, ornaments or birds, images of a tree or an ark and some others.
{"title":"Islamic Art – Shamail – Traditions and Modernity","authors":"Ildar H. Mustafin","doi":"10.37953/2079-0341-2021-2-1-178-184","DOIUrl":"https://doi.org/10.37953/2079-0341-2021-2-1-178-184","url":null,"abstract":"Islamic art is multifaceted and has a great history in fine arts. Religious art, including Islamic themes, is closely intertwined with culture, philosophy, religious knowledge and especially with the history of our country. Let us consider the specific form of Muslim art that has existed since ancient times: shamail, a peculiar phenomenon of Islamic culture and an important part of religious and aesthetic consciousness. Shamail is an art form as a carrier of written Quranic content – texts in the form of a sura from the Holy Quran with particular design consisting of images of mosques or fortresses, ornaments or birds, images of a tree or an ark and some others.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70464679","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 : 2021-01-01DOI: 10.37953/2079-0341-2021-2-1-118-128
S. Stepanova
The article deals with the history of creation and features of artistic and plastic interpretation of the work created by the historical painter, Professor of the Imperial Academy of Art Andrey Ivanovich Ivanov. The author raises the question of the origins of the idea, the literary basis of the plot, and the specifiсs of artistic solution. Accepted opinion on the dedication of the painting to the memory of I. Pnin and the associated dating of the canvas are questioned based on the analysis of the semantic content of the episode chosen by the artist and stylistic peculiarities of the painting.
{"title":"“The death of Pelopidas”: memoria-history-poetics","authors":"S. Stepanova","doi":"10.37953/2079-0341-2021-2-1-118-128","DOIUrl":"https://doi.org/10.37953/2079-0341-2021-2-1-118-128","url":null,"abstract":"The article deals with the history of creation and features of artistic and plastic interpretation of the work created by the historical painter, Professor of the Imperial Academy of Art Andrey Ivanovich Ivanov. The author raises the question of the origins of the idea, the literary basis of the plot, and the specifiсs of artistic solution. Accepted opinion on the dedication of the painting to the memory of I. Pnin and the associated dating of the canvas are questioned based on the analysis of the semantic content of the episode chosen by the artist and stylistic peculiarities of the painting.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70464713","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 : 2021-01-01DOI: 10.37953/2079-0341-2021-2-1-208-219
A. Lavrentiev, A. Sazikov
The article summarizes the results of the International Scientific and Practical Conference “Architecture and Design in the Digital Age”, held online on April 23–24, 2021. The background of the whole range of problems brushed at the conference is shown, its most important results are noted, including the statement of the completion of the process of ‘digitalization’ of the design field and the distribution of functions in the process of creating objects, when design itself becomes technology, production. The article provides a description of the collection of scientific papers prepared at the end of the conference and a brief overview of the reports presented.
{"title":"Review of International Scientific and Practical Conference “Architecture and Design in the Digital Age”","authors":"A. Lavrentiev, A. Sazikov","doi":"10.37953/2079-0341-2021-2-1-208-219","DOIUrl":"https://doi.org/10.37953/2079-0341-2021-2-1-208-219","url":null,"abstract":"The article summarizes the results of the International Scientific and Practical Conference “Architecture and Design in the Digital Age”, held online on April 23–24, 2021. The background of the whole range of problems brushed at the conference is shown, its most important results are noted, including the statement of the completion of the process of ‘digitalization’ of the design field and the distribution of functions in the process of creating objects, when design itself becomes technology, production. The article provides a description of the collection of scientific papers prepared at the end of the conference and a brief overview of the reports presented.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70464807","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 : 2021-01-01DOI: 10.37953/2079-0341-2021-2-1-163-169
A. Florkovskaya, Alexander S. Markin
The article is devoted to the art project “Jesus of Nazareth King of the Jews” / I. N. R. I. as an example of modern religious art. The project was exhibited at the Pilgrimage Museum in Germany in 2020 and presents an environment, where sculpture, painting, graphics and stained glass windows dedicated to the events of the Gospel history with an emphasis on the Passion of Christ are combined in the space of several halls. The author turned to the traditions of modernist art, including the church art, combining them with the traditions of icon painting, Russian avant-garde and design approach. His task was to speak on the gospel themes in the modern language of a clear visual sign. The article examines the origin of the idea and the course of work on the project, its artistic parts and the specifics of the interpretations.
{"title":"Contemporary Russian Religious Art in the German Museum: Alexander Markin's project I. N. R. I.","authors":"A. Florkovskaya, Alexander S. Markin","doi":"10.37953/2079-0341-2021-2-1-163-169","DOIUrl":"https://doi.org/10.37953/2079-0341-2021-2-1-163-169","url":null,"abstract":"The article is devoted to the art project “Jesus of Nazareth King of the Jews” / I. N. R. I. as an example of modern religious art. The project was exhibited at the Pilgrimage Museum in Germany in 2020 and presents an environment, where sculpture, painting, graphics and stained glass windows dedicated to the events of the Gospel history with an emphasis on the Passion of Christ are combined in the space of several halls. The author turned to the traditions of modernist art, including the church art, combining them with the traditions of icon painting, Russian avant-garde and design approach. His task was to speak on the gospel themes in the modern language of a clear visual sign. The article examines the origin of the idea and the course of work on the project, its artistic parts and the specifics of the interpretations.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70465073","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 : 2021-01-01DOI: 10.37953/2079-0341-2021-2-142-148
Anna V. Ryndina
The icon painter Alexander Ivanovich Chashkin is a disciple of the great master Archimandrite Zinon (Theodore). However, Chashkin creates his own individual world in his work, where the Byzantine artistic tradition is reinterpreted and presented to us as a deeply original version of its interpretation. Thus, the modern Greeks, recognizing the Byzantine basis of his iconography, testify to the specialness of his artistic language within the framework of the artist's personal world. A great role in the formation of Alexander Chashkin's work was played by the spiritual essence of icon painting, which he received from the nun Juliania (Sokolova). In his icons, Mr. Chashkin combines the external beauty of the image with a deep inner content.
{"title":"Icon in the works of Alexander Chashkin","authors":"Anna V. Ryndina","doi":"10.37953/2079-0341-2021-2-142-148","DOIUrl":"https://doi.org/10.37953/2079-0341-2021-2-142-148","url":null,"abstract":"The icon painter Alexander Ivanovich Chashkin is a disciple of the great master Archimandrite Zinon (Theodore). However, Chashkin creates his own individual world in his work, where the Byzantine artistic tradition is reinterpreted and presented to us as a deeply original version of its interpretation. Thus, the modern Greeks, recognizing the Byzantine basis of his iconography, testify to the specialness of his artistic language within the framework of the artist's personal world. A great role in the formation of Alexander Chashkin's work was played by the spiritual essence of icon painting, which he received from the nun Juliania (Sokolova). In his icons, Mr. Chashkin combines the external beauty of the image with a deep inner content.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70465399","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 : 2021-01-01DOI: 10.37953/2079-0341-2021-3-1-226-233
Tatiana E. Samoylova
In the decoration of the Archangel Cathedral the composition Saturday of All Saints has a central place in the painting of the western wall. It is a continuation of the theme Credo, presented in the northern and southern vertical parts of the facade of the temple, revealing a visual picture of the life of the saints in Paradise, as the culminating part of the cycle. The place of honour chosen for it is due to the idea of a cathedral, where funeral services for the deceased princes were constantly performed. The composition of the Archangel Cathedral contributed to the rooting of the tradition in the royal family to place the icon Saturday of All Saints in the iconostases above the princesʼ tombs.
{"title":"The composition “Saturday of All Saints” in the decoration of the Archangel Cathedral of the Moscow Kremlin. The origins of iconography","authors":"Tatiana E. Samoylova","doi":"10.37953/2079-0341-2021-3-1-226-233","DOIUrl":"https://doi.org/10.37953/2079-0341-2021-3-1-226-233","url":null,"abstract":"In the decoration of the Archangel Cathedral the composition Saturday of All Saints has a central place in the painting of the western wall. It is a continuation of the theme Credo, presented in the northern and southern vertical parts of the facade of the temple, revealing a visual picture of the life of the saints in Paradise, as the culminating part of the cycle. The place of honour chosen for it is due to the idea of a cathedral, where funeral services for the deceased princes were constantly performed. The composition of the Archangel Cathedral contributed to the rooting of the tradition in the royal family to place the icon Saturday of All Saints in the iconostases above the princesʼ tombs.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70465545","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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