Pub Date : 2021-01-01DOI: 10.37953/2079-0341-2021-2-1-195-207
Marina R. Bykova
The article considers the rare iconographic type of St John the Evangelist depicted on the 1858 silver-chased Gospel mount from the collection of the Vladimir-Suzdal Museum. Unlike other Evangelists, St John is represented as a young man. The author traces the origins of this image, rarely used in Russian Orthodox religious art, back to the original painting by Domenichino (Domenico Zampieri) “St John the Evangelist” (1625–1628), which became widely known in 19th-century Russia through its various copies in painting, engraving and applied art.
这篇文章考虑了罕见的肖像类型的圣约翰福音描绘了1858年银追福音坐骑从弗拉基米尔-苏兹达尔博物馆的收藏。与其他福音传教士不同，圣约翰被描绘成一个年轻人。作者追溯了这幅在俄罗斯东正教艺术中很少使用的图像的起源，追溯到Domenichino (Domenico Zampieri)的原画“福音传教士圣约翰”(St John The Evangelist, 1625-1628)，这幅画在19世纪的俄罗斯通过各种绘画、雕刻和应用艺术复制品而广为人知。
{"title":"“Many have seen the original by Domenichino…”. On the iconographic type of St John the Evangelist in Russian 19th-century applied art","authors":"Marina R. Bykova","doi":"10.37953/2079-0341-2021-2-1-195-207","DOIUrl":"https://doi.org/10.37953/2079-0341-2021-2-1-195-207","url":null,"abstract":"The article considers the rare iconographic type of St John the Evangelist depicted on the 1858 silver-chased Gospel mount from the collection of the Vladimir-Suzdal Museum. Unlike other Evangelists, St John is represented as a young man. The author traces the origins of this image, rarely used in Russian Orthodox religious art, back to the original painting by Domenichino (Domenico Zampieri) “St John the Evangelist” (1625–1628), which became widely known in 19th-century Russia through its various copies in painting, engraving and applied art.","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":"70464745","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: 10.37953/2079-0341-2021-3-1-255-270
Olga S. Davydova
The article deals with the peculiarities of the dialogue which occurred at the turn of the 19th century between the creative searches of Surikov and the newest modernist trends in Russia: from Symbolism of the artists of the World of Art (known in Russian as Mir Iskusstva) group and the Blue Rose (Golubaya Roza) circle to the different stages of the Russian avant-garde – from the Jack of Diamonds (Bubnovy Valet) to Suprematism. The composition of the study is based on the counterpoint of two questions – how Surikov perceived “modernism” and how “modernism” perceived Surikov. The concept of “modernism” in this case is interpreted in the extended sense of the creative search to the early 20th century for unconventional art of magical and plastic means of expression that went beyond the limits of the Itinerant (Рeredvizhniki) Movement’s realism. The collision of relationships is viewed through the prism of the stable plastic and emotional features of the artistic poetics of Surikov himself. That is why the author touches the issues of the artists’s personal understanding of the nature of art and the problems of innovation, which worried him until the end of his life and found expression in the decorative, lyrical and expressive features of the late creative period.
{"title":"Dialogue on the turns. Vasily Surikov and “modernism”: relationship сonflict","authors":"Olga S. Davydova","doi":"10.37953/2079-0341-2021-3-1-255-270","DOIUrl":"https://doi.org/10.37953/2079-0341-2021-3-1-255-270","url":null,"abstract":"The article deals with the peculiarities of the dialogue which occurred at the turn of the 19th century between the creative searches of Surikov and the newest modernist trends in Russia: from Symbolism of the artists of the World of Art (known in Russian as Mir Iskusstva) group and the Blue Rose (Golubaya Roza) circle to the different stages of the Russian avant-garde – from the Jack of Diamonds (Bubnovy Valet) to Suprematism. The composition of the study is based on the counterpoint of two questions – how Surikov perceived “modernism” and how “modernism” perceived Surikov. The concept of “modernism” in this case is interpreted in the extended sense of the creative search to the early 20th century for unconventional art of magical and plastic means of expression that went beyond the limits of the Itinerant (Рeredvizhniki) Movement’s realism. The collision of relationships is viewed through the prism of the stable plastic and emotional features of the artistic poetics of Surikov himself. That is why the author touches the issues of the artists’s personal understanding of the nature of art and the problems of innovation, which worried him until the end of his life and found expression in the decorative, lyrical and expressive features of the late creative period.","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":"70465561","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: 10.37953/2079-0341-2020-1-1-15-32
Krassimira L. Loukitcheva
In this article, the painting of Edouard Manet is traditionally considered as a new set of pictorial means representing actual life and the perspective of the development of contemporary art; and as a dialogue with the art of old masters, in which there is a destruction of the classical type of mimesis and the birth of picture’s new status. But here, the emphasis is different: the novelty and significance of his painting are predetermined not by changing social environment directly, they are born of a new visual discourse of Manet’s time, responding to the challenge presented by a new stage in the development of art, and its new role in stratification of culture.
{"title":"Actuality and intertextuality in the painting of Edouard Manet","authors":"Krassimira L. Loukitcheva","doi":"10.37953/2079-0341-2020-1-1-15-32","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-1-1-15-32","url":null,"abstract":"In this article, the painting of Edouard Manet is traditionally considered as a new set of pictorial means representing actual life and the perspective of the development of contemporary art; and as a dialogue with the art of old masters, in which there is a destruction of the classical type of mimesis and the birth of picture’s new status. But here, the emphasis is different: the novelty and significance of his painting are predetermined not by changing social environment directly, they are born of a new visual discourse of Manet’s time, responding to the challenge presented by a new stage in the development of art, and its new role in stratification of culture.","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":"70462210","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: 10.37953/2079-0341-2020-3-1-396-398
N.V. Tolstaya
Album review “Exhibition projects of creative workshops of the Russian Academy of Arts (Moscow) 2015–2019”, Moscow, 2020. The publication prepared by the Head of the Department – Alexander Troshin, as a report on the work done.
{"title":"From trainee to master. Exhibition projects of creative workshops of the Russian Academy of Arts","authors":"N.V. Tolstaya","doi":"10.37953/2079-0341-2020-3-1-396-398","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-3-1-396-398","url":null,"abstract":"Album review “Exhibition projects of creative workshops of the Russian Academy of Arts (Moscow) 2015–2019”, Moscow, 2020. The publication prepared by the Head of the Department – Alexander Troshin, as a report on the work done.","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":"70463983","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: 10.37953/2079-0341-2020-4-1-500-506
E. Fedotova
The article is devoted to the creation of well-known Italian sculptor Marino Marini (1901–1980). He was the participant of many qreat displays in Italy and abroad, prize-winner of international exhibitions. The Fund of Marini and the Centre of documentation of his legacy was created in 1979 in one’s home town – Pistoia. His sculptures, drawings, photographyes, catalogues keeps there. In 1975 in Milano, where he teached at great artistic institutes for a long time, was opened «Museum Marini». His talent formed under the influence of distinguished italian sculptor of XXᵗʰ century – Arturo Martini, them meeting happened in 1926. In this article the talk is about biography of Marini and about the main theme of his creation – conception of «horse and rider». In these types he incarnated reverberations of one’s own associations with the contemporary events, also correlated the «riders» with the legacy of the plastic art of etruscas, because he was native of Toscana. This «forma in una idea» developed in sculptures and in drawings of Marini from first works of 1930ᵗʰ to the composition of 1950ᵗʰ–1960ᵗʰ («Miracle» – «Miracle», «Grido» – «Cry» and others). The dramatic history of XXᵗʰ century always was the impulse for his works. He stayed out of official orders, was «free essence», followed the precept of Arturo Martini.
{"title":"“Riders” of Marino Marini","authors":"E. Fedotova","doi":"10.37953/2079-0341-2020-4-1-500-506","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-4-1-500-506","url":null,"abstract":"The article is devoted to the creation of well-known Italian sculptor Marino Marini (1901–1980). He was the participant of many qreat displays in Italy and abroad, prize-winner of international exhibitions. The Fund of Marini and the Centre of documentation of his legacy was created in 1979 in one’s home town – Pistoia. His sculptures, drawings, photographyes, catalogues keeps there. In 1975 in Milano, where he teached at great artistic institutes for a long time, was opened «Museum Marini». His talent formed under the influence of distinguished italian sculptor of XXᵗʰ century – Arturo Martini, them meeting happened in 1926. In this article the talk is about biography of Marini and about the main theme of his creation – conception of «horse and rider». In these types he incarnated reverberations of one’s own associations with the contemporary events, also correlated the «riders» with the legacy of the plastic art of etruscas, because he was native of Toscana. This «forma in una idea» developed in sculptures and in drawings of Marini from first works of 1930ᵗʰ to the composition of 1950ᵗʰ–1960ᵗʰ («Miracle» – «Miracle», «Grido» – «Cry» and others). The dramatic history of XXᵗʰ century always was the impulse for his works. He stayed out of official orders, was «free essence», followed the precept of Arturo Martini.","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":"70464434","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: 10.37953/2079-0341-2020-1-1-84-88
Sergey I. Orlov
The author introduces art lovers to the creative work of Tatiana Obraztsova, professor, Honorary Member of the Russian Academy of Arts and Honorary Art Worker of the city of Moscow. Her landscapes created in various techniques show a deep connection with European symbolism and art traditions of the Far East. The original area of creative search lies in decorative panels-collages made with textured fabrics, multi-colored threads, sparkling glass pendants, necklaces, etc.
{"title":"Mystery-Pictures by Tatiana Obraztsova","authors":"Sergey I. Orlov","doi":"10.37953/2079-0341-2020-1-1-84-88","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-1-1-84-88","url":null,"abstract":"The author introduces art lovers to the creative work of Tatiana Obraztsova, professor, Honorary Member of the Russian Academy of Arts and Honorary Art Worker of the city of Moscow. Her landscapes created in various techniques show a deep connection with European symbolism and art traditions of the Far East. The original area of creative search lies in decorative panels-collages made with textured fabrics, multi-colored threads, sparkling glass pendants, necklaces, etc.","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":"70462748","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: 10.37953/2079-0341-2020-2-1-166-174
Andrey V. Kuzmin
The article is devoted to the image of a winged horse in the context of the history of Western European culture. The focus is on the experience of addressing the history of the Greek constellation map and the question of its genesis. The article states that the creators of the earliest composition images of the night sky map recorded in it the morphology of the image one the most common rituals of the Bronze Age, the mythological basis of which includes early cosmological motifs. The basis of the constellations structure was formed in the pre-writing period of history. Initially, “heavenly images”, representing the most important cultural codes, were canonized – they served as a part for ancient cults.
{"title":"Secret of Pegasus. Sacral image of Winged Horse in the past and present of history cultures","authors":"Andrey V. Kuzmin","doi":"10.37953/2079-0341-2020-2-1-166-174","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-2-1-166-174","url":null,"abstract":"The article is devoted to the image of a winged horse in the context of the history of Western European culture. The focus is on the experience of addressing the history of the Greek constellation map and the question of its genesis. The article states that the creators of the earliest composition images of the night sky map recorded in it the morphology of the image one the most common rituals of the Bronze Age, the mythological basis of which includes early cosmological motifs. The basis of the constellations structure was formed in the pre-writing period of history. Initially, “heavenly images”, representing the most important cultural codes, were canonized – they served as a part for ancient cults.","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":"70463004","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: 10.37953/2079-0341-2020-2-1-277-284
Elena V. Igumnova
The article is devoted to the problem of modernist perception of the situation of mechanized war, as young British artists adapted the latest forms and concepts in wartime works. The First World War was not like previous military clashes. The increased role of technology in the process of hostilities created the impression of the impersonality of the war, the soldiers were perceived as a part of a large machine that claimed millions of lives. British modernists, faced with a new military reality, were looking for suitable possibilities of modernist art in order to convey the broken, like geometric abstraction, “machine” character of war, taking away lifes, blowing up the earth, crushing equipment and airplanes. Artists understood that the time heroic realism and allegories has passed; the war, deprived of a human face, going on with the participation of a large number of equipment, required other means of artistic display – broken lines and geometric shapes, contrasting colors.
{"title":"British Modernists and the Images of the First World War 1914–1920","authors":"Elena V. Igumnova","doi":"10.37953/2079-0341-2020-2-1-277-284","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-2-1-277-284","url":null,"abstract":"The article is devoted to the problem of modernist perception of the situation of mechanized war, as young British artists adapted the latest forms and concepts in wartime works. The First World War was not like previous military clashes. The increased role of technology in the process of hostilities created the impression of the impersonality of the war, the soldiers were perceived as a part of a large machine that claimed millions of lives. British modernists, faced with a new military reality, were looking for suitable possibilities of modernist art in order to convey the broken, like geometric abstraction, “machine” character of war, taking away lifes, blowing up the earth, crushing equipment and airplanes. Artists understood that the time heroic realism and allegories has passed; the war, deprived of a human face, going on with the participation of a large number of equipment, required other means of artistic display – broken lines and geometric shapes, contrasting colors.","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":"70463187","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: 10.37953/2079-0341-2020-4-1-441-463
T. K. Starodub
A comparative analysis of the Middle Eastern art monuments from different epochs urge the assumption upon us that colourful murals, reliefs and mosaics of palaces, religious and public buildings, just as the illustrated Greek, Latin and Syrian scrolls and codes, created in distant and recent the Western Asia pre-Islamic past or in the early centuries of the Caliphate, served as a kind of breeding ground for the development of a new art form for the Islamic world – a book miniature. In the works of monumental art of the city-states of pre-Islamic ancient Syria and Mesopotamia, traits are found that allow us to see in the heritage of the different art cultures of the ancient and early medieval Mediterranean and the non-Mediterranean Hellenized East not only a cradle, but also schools of Greco-Roman and Early Byzantine miniatures that complement and decorate texts of the ancient manuscripts. With the absorption of these regions by the Caliphate and the development of the medieval Islamic civilization, these schools, next to the vivid and developing art of Byzantium, became sources of knowledge and skill for the designers of Arabic manuscripts. The design of Greek, Latin and Syrian codes, along with the illustrations in the text, inspired the inclusion in the Arabic manuscripts of the frontispiece with the "portrait" of the author (or authors) of the book, and 'the dedication picture' – that were the separate miniatures glorifying the patron or the crowned addressee of the book in allegorical form. Over time, the style of Arabic manuscripts had lost the visible connection with both Greco-Roman and Byzantine prototypes. However, the acquisition of their own stylistic devices, methods and norms did not mean either a final deviation or a complete denial of lessons of the classical book painting. In one form or another, their contribution in Medieval Near Eastern arts was also manifested in the later illustrated Arabic manuscripts, although now at most they were oriented toward the models and ideals of Iran and Eastern Asia.
{"title":"Graeco-Roman and Byzantine traditions in the miniature of the Arab Middle Ages","authors":"T. K. Starodub","doi":"10.37953/2079-0341-2020-4-1-441-463","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-4-1-441-463","url":null,"abstract":"A comparative analysis of the Middle Eastern art monuments from different epochs urge the assumption upon us that colourful murals, reliefs and mosaics of palaces, religious and public buildings, just as the illustrated Greek, Latin and Syrian scrolls and codes, created in distant and recent the Western Asia pre-Islamic past or in the early centuries of the Caliphate, served as a kind of breeding ground for the development of a new art form for the Islamic world – a book miniature. In the works of monumental art of the city-states of pre-Islamic ancient Syria and Mesopotamia, traits are found that allow us to see in the heritage of the different art cultures of the ancient and early medieval Mediterranean and the non-Mediterranean Hellenized East not only a cradle, but also schools of Greco-Roman and Early Byzantine miniatures that complement and decorate texts of the ancient manuscripts. With the absorption of these regions by the Caliphate and the development of the medieval Islamic civilization, these schools, next to the vivid and developing art of Byzantium, became sources of knowledge and skill for the designers of Arabic manuscripts. The design of Greek, Latin and Syrian codes, along with the illustrations in the text, inspired the inclusion in the Arabic manuscripts of the frontispiece with the \"portrait\" of the author (or authors) of the book, and 'the dedication picture' – that were the separate miniatures glorifying the patron or the crowned addressee of the book in allegorical form. Over time, the style of Arabic manuscripts had lost the visible connection with both Greco-Roman and Byzantine prototypes. However, the acquisition of their own stylistic devices, methods and norms did not mean either a final deviation or a complete denial of lessons of the classical book painting. In one form or another, their contribution in Medieval Near Eastern arts was also manifested in the later illustrated Arabic manuscripts, although now at most they were oriented toward the models and ideals of Iran and Eastern Asia.","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":"70464343","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}
{"title":"In memory of Natalya Nikolaevna Sheredega (1950 – 2020)","authors":"N.V. Tolstaya","doi":"10.37953/2079-0341-2020-2-1-290-292","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-2-1-290-292","url":null,"abstract":"These lines are dedicated to the memory of the unique professional and remarkable colleague and friend Natalya Nikolaevna Sheredega.","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":"70463243","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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