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Boris Johanson. Moscow Union of Artists. Look from the XXI century 鲍里斯·约翰逊。莫斯科艺术家联盟。从21世纪来看
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-1-1-100-104
Alexander K. Yakimovich
Review of the book by B.I. Ioganson examines the author's statement of question, the specifics of presentation of artistic situation in the USSR (1932-1962), conditions for the establishment and existence of Soviet artistic creative organizations (MOSH) in the first three decades of Soviet power.
对bi Ioganson的这本书的评论考察了作者的问题陈述,苏联(1932-1962)艺术状况的具体表现,苏联政权前三十年苏联艺术创作组织(MOSH)建立和存在的条件。
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引用次数: 0
Own borrowed. Peculiarities of Citation in Russian Fine Arts of the 18th Century 自己的借来的。18世纪俄罗斯美术引文的特殊性
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-1-11-22
Olga S. Evangulova, Andrey A. Karev
Referring to the problem of “citation” in fine arts of the 18th century, the discussion invariably arises about author’s originality and imitation. In Russia, a tradition of respect for the model is reflected in the nature of “citation” as part of the imitating of nature. First, fine arts, like engraving, have to use models, and so acquired the right to independence. Second, artists using models often demonstrated joining the most requested ideas embodied by reputable masters of various epochs. At times it leads to some kind of paraphrasis to a significant pronomination, which enhanced the prestige of an author and national art school. In addition, it was a symptom of the metamorphosis of the “borrowed” into one’s “own” as a necessary part of a creative process.
提到18世纪美术中的“引用”问题,必然会引起关于作者原创性和模仿性的讨论。在俄罗斯,尊重模式的传统体现在“引用”作为模仿自然的一部分的性质上。首先,美术,如雕刻,必须使用模型,因此获得了独立的权利。其次,使用模型的艺术家经常表现出加入各个时代著名大师所体现的最需要的想法。有时,它会导致对重要发音的某种释义,从而提高作者和国家艺术学校的声望。此外,这是“借来的”转化为“自己的”的一个症状,作为一个创作过程的必要组成部分。
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引用次数: 1
Iconological tradition and film analysis 图像学传统与电影分析
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-2-1-185-194
M. Y. Toropygina
The article discusses film interpretation as reading and analysis of the visual part. Iconology as one of the methods in art history inspires concentration on details of the image and the scene as well as understanding of different layers of meaning in film.
本文将电影解读视为视觉部分的阅读与分析。图像学作为艺术史研究的方法之一,激发了人们对图像和场景细节的关注,以及对电影中不同层次意义的理解。
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引用次数: 0
Ilya Repin: From Raising to Resurrection 伊利亚·列宾:《从升起到复活
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-2-1-129-141
Tatiana V. Yudenkova
The diversity of topics and ideas in the art of Ilya Repin (1844–1930) has long been seen as a result of the artist’s changeability, the inconsistency of his views and the suddenness of his creative talent. Therefore, it is important to show the integrity of Repin’s artistic world and to discover a certain foundation for his professional activity. This article traces the artist’s path from the early academician work “The raising of Jairus’ daughter” to one of his late paintings, “The Golgotha”. If you try to assess a vast number of Repin’s picture motifs you’ll see that over the whole course of his professional career he was working step by step on the subject of life and death, demonstrating interest in the meanings of human existence. These aspects worried the painter in connection not only with Gospel subjects but also with historical pictures and portraits.
伊利亚·列宾(1844-1930)的艺术主题和思想的多样性长期以来被视为艺术家的易变性,他的观点的不一致性和他的创作天赋的突然性的结果。因此,展示列宾艺术世界的完整性,为他的专业活动找到一定的基础是很重要的。本文追溯了艺术家从早期院士作品《睚鲁女儿的抚养》到晚期作品《各各他》的创作历程。如果你试着评估列宾的大量绘画主题,你会发现在他的整个职业生涯中,他一步一步地研究生与死的主题,表现出对人类存在意义的兴趣。这些方面不仅与福音主题有关,而且与历史图片和肖像有关。
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引用次数: 0
The Virgin’s heavenly rapture as a theme in Yaroslavl art of the late 17th and early 18th centuries 17世纪末和18世纪初雅罗斯拉夫尔艺术的主题——圣母在天堂的狂喜
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-2-1-111-117
Ekaterina Yu. Makarova
In its heydays, Yaroslavl art expanded its range of literary sources. The composition of Ioanniky Galyatovsky “Nebo Novoe” (“New Heaven”) was very popular. The miracle of St Thomas Becket of Canterbury, in which the Virgin tells him of her rapture in Heaven, became an iconographic subject. In Yaroslavl art this theme can be found in several versions, both in icons and in monumental painting. It is believed that the theme appeared and was developed in the school of Yaroslavl icon painter Feodor Ignatiev. Currently, this plot has not been identified in other centres of art.
在雅罗斯拉夫艺术的全盛时期,它扩大了文学来源的范围。加利亚托夫斯基的作品《新天堂》(Nebo Novoe)非常受欢迎。圣托马斯贝克特的奇迹坎特伯雷,其中圣母告诉他,她在天堂的狂喜,成为一个形象的主题。在雅罗斯拉夫艺术中,这个主题可以在几个版本中找到,无论是在图标上还是在纪念性绘画中。人们认为,这一主题是在雅罗斯拉夫尔肖像画家费奥多尔·伊格纳季耶夫的学派中出现并发展起来的。目前,这一情节尚未在其他艺术中心确定。
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引用次数: 0
Waiting for a change for traditional handcrafts. In memory of Alexander Grekov (1954–2021) 等待传统手工艺的改变。纪念亚历山大·格列科夫(1954-2021)
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-3-1-316-319
Maria A. Nekrasova
The article is dedicated to the memory of art historian Alexander Grekov (1954–2021), determining the significance of his contribution to the study of folk arts and crafts, their maintenance and development in the late 20th – early 21st centuries.
这篇文章是为了纪念艺术史学家亚历山大·格列科夫(1954-2021),确定他对民间艺术和工艺研究的贡献,以及20世纪末至21世纪初民间艺术和工艺的维护和发展。
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引用次数: 0
Our teachers 我们的老师
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-1-1-7-10
Andrey A. Karev
The article is devoted to creative heritage of art historians O.S. Evangulova (1933-2016) and I.V. Ryazantsev (1932-2014), assessment of the significance of their contribution to the study of the artistic processes of Russian art of the XVIII – early XIX centuries and the development of the Russian art school for the study of Russian art of the XVIII century.
本文致力于艺术史学家O.S. Evangulova(1933-2016)和I.V. Ryazantsev(1932-2014)的创作遗产,评估他们对十八世纪至十九世纪早期俄罗斯艺术过程研究的贡献的重要性,以及俄罗斯艺术学校对十八世纪俄罗斯艺术研究的发展。
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引用次数: 0
Ovid’s Metamorphoses in Russian book illustrations of the 1790s: Searching European analogues 18世纪90年代俄书插图中的奥维德的《变形记》:寻找欧洲的类似物
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-1-1-32-40
Elena V. Borshch
The paper shows the influence of the European engravings on the Russian book illustrations. The object of the study are European and Russian 18th-century illustrations for Ovid’s Metamorphoses. As a result of the comparison, prototypes of illustrations for the Russian edition of Ovid of 1794–1795 were identified as engravings from a similar Dutch edition of 1732. The results of a comparison of a number of sketches of the Russian manuscript “Ovid Metamorphoses with Illustrations” of 1796 and the engravings of the French edition of “Metamorphoses” of 1767–1771 are given. The methods of copying and transformation of European prints are analyzed. The author proves creative nature of the interpretation of European samples by Russian engravers and draftsmen of the academic school.
本文论述了欧洲版画对俄罗斯图书插图的影响。研究对象是18世纪欧洲和俄罗斯为奥维德的《变形记》绘制的插图。经过比较,1794-1795年俄文版奥维德的插图原型被鉴定为1732年类似的荷兰版的雕刻。本文给出了1796年俄文手稿《奥维德变形记及插图》的若干草图与1767-1771年法文版《变形记》的雕刻的比较结果。分析了欧洲版画的复制与转化方法。作者论证了俄罗斯学院派雕刻家和绘图员对欧洲样本解读的创造性。
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引用次数: 0
Italy in the life and work of Vassily Surikov and Jan Matejko, outstanding historical painters 意大利杰出的历史画家瓦西里·苏里科夫和扬·马特耶科的生活和工作
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-3-1-234-243
Leila S. Khasianova
Ilya Repin wrote, “Matejko had a great national soul, he could as a painter express his love to his compatriots boldly and just to the point”. This statement can be attached to Surikov’s creative activity as well. Unfortunately, the researchers of Surikov’s works have to realize that painter’s secluded lifestyle obviously led to an insufficient number of letters and memoirs. The information on the Polish artist Jan Matejko is more extensive though he also was a recluse in his life. The author of the article pays special attention to Italy, and its role in private and artistic life of Surikov and Matejko. Both represented Slavonic culture, both were adherents to historical painting, and, moreover, had much in common as for their tempers, existential and creative principles.
列宾写道:“马泰耶科有着伟大的民族灵魂,他可以作为一个画家大胆而恰如其分地表达对同胞的爱。”这句话也可以附属于苏里科夫的创作活动。不幸的是,研究苏里科夫作品的人不得不认识到,画家隐居的生活方式显然导致了他的信件和回忆录数量不足。关于波兰艺术家Jan Matejko的信息更为广泛,尽管他一生中也是一个隐士。文章的作者特别关注意大利,以及意大利在苏里科夫和马泰耶科的私人和艺术生活中的作用。他们都代表斯拉夫文化,都是历史绘画的追随者,而且,他们在脾气、存在和创作原则方面有很多共同之处。
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引用次数: 0
Dutch-Flemish motifs of flowers and fruit in the 18th-Century Russian Painting: From Science and Emblems to the Image Aestheticization 18世纪俄罗斯绘画中的荷兰-佛兰德花卉和水果主题:从科学和象征到图像审美化
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-1-1-23-31
Tatiana A. Zakharova
The history of Russian fruit and flower still life began in the 18th century, when Russian state’s art culture was getting closer to that of European countries, especially with the Netherlands. This article shows the evolution of Russian fruit and flower still life of the 18th century in the context of Dutch-Flemish inheritance. The major focus is made on the objective motifs of the still life and its semantics. In the works of this genre, the continuity of Dutch traditions could be traced due to “Symbols and Emblemata”, an iconological reference book published at the initiative of Peter I.
俄罗斯水果和花卉静物画的历史始于18世纪,当时俄罗斯国家的艺术文化与欧洲国家,特别是与荷兰的艺术文化越来越接近。这篇文章展示了18世纪俄罗斯水果和花卉静物在荷兰-佛兰德继承背景下的演变。主要集中在静物的客观母题及其语义上。在这种类型的作品中,荷兰传统的连续性可以追溯到“符号和象征”,这是一本由彼得一世倡议出版的图像学参考书。
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