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Petrarch’s understanding of the landscape: from medieval relations to the new picture of world 彼特拉克对风景的理解:从中世纪的关系到新的世界图景
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-2-1-194-209
S. Kozlova
The article discusses Petrarch’s ideas about the landscape, which he imagined in wide and diverse aspects, approaching directly to humanist concepts. On the one hand, the landscape was perceived by the poet as a cultural habitat, on the other hand, it was associated with intimate experience, awareness of natural space as necessary for creativity and disclosure of the lyrical features of an individual. Petrarch’s understanding of the landscape came into close contact with the garden, or the landscape cultivated, ideal; in addition he made available contribution to the forming of the Renaissance garden conception.
本文讨论了彼特拉克关于景观的思想,他的想象是广泛而多样的,直接接近人文主义的概念。一方面,风景被诗人视为文化栖息地,另一方面,它与亲密的体验、对自然空间的认识有关,这是创造力和个人抒情特征的披露所必需的。彼特拉克对景观的理解与园林密切相关,或者说是景观的培植、理想;此外,他还为形成文艺复兴时期的园林概念做出了贡献。
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引用次数: 0
The Martin Luther image as an object of myth-making in the German art of 19th century (through the stoneware collection of the Saratov State Art Museum named after A. N. Radischev) 马丁·路德的形象在19世纪的德国艺术中成为神话的对象(通过以A. N. Radischev命名的萨拉托夫国家艺术博物馆的石器收藏)
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-2-1-239-247
Tatijana E. Savitskaya
The article considers the Martin Luther image as an object of the myth-making in Germany of the 19th century and its reflection in the art. The main focus of the article is the stoneware beer jug depicting the scene of the feast and the music-making. The author identified Luther person among the participants of the feast. The presence of Father of the Church Luther in the scene on the beer jug is explained by the historical situation in Germany. The 19th-century passes in Germany under the banner of the national idea. The author proves that in the 19th century Luther became the national myth. The unification of Germany was the necessary basis for the development and prosperity of the bourgeoisie, because the bourgeoisie needed this myth first of all. For the population Luther was the personification of the national idea (as the creator of the literary language and the national religion).
本文考察了19世纪德国神话创作的对象马丁·路德形象及其在艺术中的反映。文章的重点是描绘宴会和音乐制作场景的石制啤酒壶。作者在宴会的参加者中确定了路德本人。在啤酒壶的场景中,教会之父路德的存在是由德国的历史情况来解释的。19世纪的德国是在民族理念的旗帜下度过的。作者证明,在19世纪,路德成为民族神话。德国的统一是资产阶级发展和繁荣的必要基础,因为资产阶级首先需要这个神话。对于民众来说,路德是民族理念的化身(作为文学语言和民族宗教的创造者)。
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引用次数: 0
The classic ideal. In memory of Valentina Aleksandrovna Kryuchkova 经典的理想。纪念瓦伦蒂娜·亚历山德罗夫娜·克柳契科娃
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-4-1-414-415
E. Fedotova
The article is devoted to the memory of art historian Michael Nikolaevich Sokolov (1946–2016), professional heritage and the significance of his works for contemporary art history.
本文旨在纪念艺术史学家迈克尔·尼古拉耶维奇·索科洛夫(Michael Nikolaevich Sokolov, 1946-2016)、他的专业遗产以及他的作品对当代艺术史的意义。
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引用次数: 0
Scientist Michael Sokolov (1946–2016) 科学家迈克尔·索科洛夫(1946–2016)
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-2-1-163-165
E. Fedotova
The article is devoted to the memory of art historian Michael Nikolaevich Sokolov (1946–2016), professional heritage and the significance of his works for contemporary art history.
本文旨在纪念艺术史学家迈克尔·尼古拉耶维奇·索科洛夫(Michael Nikolaevich Sokolov, 1946-2016)、他的专业遗产以及他的作品对当代艺术史的意义。
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引用次数: 0
Specific features of antique gods’ iconography in paintings of Florentine master Apollonio di Giovanni (1415/17–1465) 佛罗伦萨大师乔瓦尼(Apollonio di Giovanni, 1415/17-1465)绘画中古代神的形象特征
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-2-1-210-218
M. G. Piven
In the 15th century in Italy due to the growing attention to humanistic culture, masters of visual arts represented plots and images, that came from poetry and history of Antiquity. This essay is devoted to the specific submission of ancient gods’ images in Apollonio di Giovanni’s book miniatures and decorative paintings. The objects of study are miniatures of the Virgil Codex (MS 492, Riccardian Library), and narrative paintings, which adorn florentine wedding chests (cassoni). The article focuses on visual interpretations of images: compositions, representative techniques, attributes. Despite of common medieval depiction of antique motifs, the master’s work is distinguished by reliance on literary sources, expressed in some details of iconographic solutions.
在15世纪的意大利,由于对人文文化的日益关注,视觉艺术大师们表现了来自古代诗歌和历史的情节和图像。本文主要探讨了阿波罗尼奥·迪·乔瓦尼(Apollonio di Giovanni)的著作《微缩和装饰画》中古代神祇形象的具体呈现。研究对象是维吉尔手抄本(MS 492,李嘉图图书馆)的微缩模型,以及装饰佛罗伦萨婚礼箱子(卡索尼)的叙事画。本文着重探讨了图像的视觉解读:构图、表现手法、属性。尽管常见的中世纪描绘的古董图案,大师的工作是区分依赖文学来源,表达在一些细节的图像解决方案。
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引用次数: 0
Exhibition projects of creative workshops of the Russian Academy of Arts (Moscow) 2015–2019 2015-2019年俄罗斯艺术学院(莫斯科)创意工作坊展览项目
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-3-1-350-351
Alexander A. Troshin
Artistic images are created by creator – painters, sculptors, architects, decorators… Their works influence aesthetic and ethical norms, form a person`s historical memory, educate categories of consciousness that unite us as members of a civil society. If artists are deprived of their creative production base, if the links of the unified system of professional training are broken, society will gradually lose the parameters of its identity and native artistic images will replace those of others. The need for the Russian Academy of Arts to preserve an integral system of training professional artists clearly confirms by our album.
艺术形象是由创作者——画家、雕塑家、建筑师、装饰家——创造的……他们的作品影响着审美和道德规范,形成一个人的历史记忆,教育着将我们作为公民社会成员团结在一起的意识类别。如果艺术家的创作生产基地被剥夺,如果统一的专业培训体系的环节被打破,社会将逐渐失去其身份的参数,本土的艺术形象将取代他人的艺术形象。我们的专辑清楚地证实了俄罗斯艺术学院需要保留一个培养专业艺术家的完整系统。
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引用次数: 0
Michael Gavrilovitch Biriukov. An unknown portrait of Prince Grigorii Aleksandrovitch Potemkin-Tavricheskii. 1789 迈克尔·加夫里洛维奇·比留科夫。一幅不知名的格里高利·亚历山德罗维奇·波将金-塔夫里切斯基王子的肖像。1789
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-3-1-370-381
S. V. Moiseeva
This article examines a portrait of Prince Grigorii Aleksandrovitch Potemkin, recently discovered by professor Yuri Schmavonovich Abramov (Saint Petersburg) and currently kept in his collection. The portrait bears a signature: “Copied by a 5th stage (5th “vozrast”) student M. Biriukov, in the year 1789”. Michael Gavrilovitch Biriukov (September 1st 1770 – July 12th 1809) studied at St. Petersburg Academy of Arts from 1776, under tuition of S.S. Shchukin. In 1791 he completed, together with a co-student N.A. Siniavski, an academic programme on the following subject: “present a female in Russian dress in the occupation suitable to her sex” (now lost). In the same year he was chosen to stay on at the Academy as a stipendiat (“pensionnaire”). His later life remains unknown. In an attempt to identify the author of the original, copied by Biriukov, this text suggests Michael Shibanov, the painter to Grigorii Potemkin, as a most likely candidate.
这篇文章研究了一幅王子Grigorii Aleksandrovitch Potemkin的肖像,最近由Yuri Schmavonovich Abramov教授(圣彼得堡)发现,目前保存在他的收藏中。这幅画上有一个签名:“1789年由第五阶段(第五“vozrast”)学生M. Biriukov所作”。迈克尔·加夫里罗维奇·比留科夫(1770年9月1日- 1809年7月12日)1776年起在圣彼得堡艺术学院学习,师从S.S. Shchukin。1791年,他与另一名学生N.A.西尼亚夫斯基(N.A. Siniavski)一起完成了一个学术课程,主题如下:“呈现一位穿着俄罗斯服装的女性,从事适合她性别的职业”(现已丢失)。同年,他被选中留在学院领取津贴(“养老金”)。他后来的生活仍不得而知。为了确定由Biriukov复制的原作的作者,本文建议Michael Shibanov, Grigorii Potemkin的画家,作为最有可能的候选人。
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引用次数: 0
The imitation of the ancients and the value of novelty in the work of Roman artistic workshops of the 16th century 16世纪罗马艺术工作室作品中对古人的模仿和新奇的价值
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-4-1-479-487
Maria V. Dunina
With examination of the graphic heritage of artists who worked in Rome in the 16th century we can find many examples of sketches of ancient monuments, which became examples and reference material for the artistic workshops. In this regard, our interest is not only what antiquities were captured by the artists, but also the question of how accurate such sketches were. The Roman workshops of Cinquecento were faced with the demand for creative novelty and the conscious imitation of their art simultaneously.
通过对16世纪在罗马工作的艺术家的图形遗产的研究,我们可以找到许多古代纪念碑草图的例子,这些草图成为艺术工作室的例子和参考材料。在这方面,我们的兴趣不仅在于艺术家们捕获了什么文物,而且还在于这些草图的准确性。五十年代的罗马工作室同时面临着对创造性新颖的需求和对其艺术的有意识模仿。
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引用次数: 0
From the first person. Based on the interview with Tatiana Nazarenko on April 29, 2019 第一人称。基于2019年4月29日对塔蒂亚娜·纳扎连科的采访
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-1-1-104-110
Olga A. Yushkova
Tatiana Nazarenko is a well-known artist, academician, member of the Presidium of Russian Academy of Arts. Master’s statements about various problems of contemporary art, art education and her own creative path are of great interest.
塔蒂亚娜·纳扎连科是一位著名的艺术家,院士,俄罗斯艺术学院主席团成员。大师对当代艺术的各种问题、艺术教育和她自己的创作路径的论述非常有趣。
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引用次数: 0
Exhibition Review “Piscator’s Bible, A Handbook of Russian Icon Painters” (The State Tretyakov Gallery, June 26 – October 6, 2019). 展览回顾“皮斯卡托的圣经——俄罗斯图标画家手册”(国家特列季亚科夫画廊,2019年6月26日至10月6日)。
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-1-1-132-142
Andrei V. Gamlitsky
The review talks about the exhibition dedicated to the artistic contacts of Russia and Western Europe, which played a crucial role in the transition of Russian culture from the Middle Ages to the New Time. The exhibition presents works of Russian art (icons, graphics, objects of decorative art) created from the middle of the 17th up to the beginning of the 19th century under the influence of “Biblical prints” published in the Netherlands in the 17th century. The largest of them is Theatrum biblicum by Claes Visscher (Nikolaus Piscator), a copy of which from the collection of the State Tretyakov Gallery is also presented at the exhibition along with other illustrated Western editions known in Russia. The exhibition is the first experience of representing this topic in museum practice. Many works are exhibited for the first time [1].
这篇评论谈到了俄罗斯与西欧艺术接触的展览,这在俄罗斯文化从中世纪向新时代的过渡中发挥了至关重要的作用。本次展览展出了17世纪中期至19世纪初在荷兰出版的“圣经版画”的影响下创作的俄罗斯艺术作品(图标、图形、装饰艺术品)。其中最大的是克拉斯·维舍尔(Nikolaus Piscator)的《Theatrum biblicum》,国家特列季亚科夫美术馆收藏的一本《Theatrum biblicum》也与俄罗斯已知的其他西方插图版本一起在展览中展出。此次展览是在博物馆实践中首次呈现这一主题。许多作品在2010年首次展出。
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