Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.104
Valeria D. Sedleryonok
This article deals with reassessing Venetian Cinquecento painting in France in the 1820s. This research is a series of case studies related to this problem and providing various types of historical analysis. It examines particular artworks, artistic, social, political contexts, and the influence of Venetian art on the formation of a new artistic language in France in the 1820s. Using an analysis of a wide range of both visual and verbal primary sources, I explore theoretical and practical aspects of the reassessment of Venetian Cinquecento painting in early nineteenth-century France. The paper presents a detailed examination of various French publications of that time regarding Venetian art, as well as a comparative analysis of artworks by Venetian and French artists, namely, Jacopo Robusti, Paolo Veronese, Andrea Schiavone, Eugène Delacroix, Xavier Sigalon, and Eugène Devéria. In this article, I address the following questions. What was the knowledge about Italian Renaissance art in France in the early 19th century? What place did the Venetian school take among the Italian schools of painting in the French consciousness at that time? How was Venetian painting perceived, revisited and presented? How did it influence the formation of a new artistic language in the 1820s? This study reveals the causes, specifics, aspects, and far-reaching consequences of the reconsideration of Venetian Cinquecento painting in the 1820s and its significance for the understanding of the patterns of art development in 19th-century France.
这篇文章涉及重新评估19世纪20年代法国威尼斯的五十年代绘画。本研究是一系列与此问题相关的案例研究，并提供各种类型的历史分析。它考察了特定的艺术品，艺术，社会，政治背景，以及威尼斯艺术对19世纪20年代法国新艺术语言形成的影响。通过对广泛的视觉和口头主要来源的分析，我探索了19世纪初法国威尼斯五十年代绘画的重新评估的理论和实践方面。本文详细介绍了当时关于威尼斯艺术的各种法国出版物，以及威尼斯和法国艺术家的艺术作品的比较分析，即Jacopo Robusti, Paolo Veronese, Andrea Schiavone, eug Delacroix, Xavier Sigalon和eug devacriia。在本文中，我将讨论以下问题。19世纪初，法国对意大利文艺复兴时期的艺术了解多少?在当时法国人的意识中，威尼斯画派在意大利画派中处于什么地位?威尼斯绘画是如何被感知、重新审视和呈现的?它是如何影响19世纪20年代新艺术语言的形成的?本研究揭示了19世纪20年代威尼斯五十年代绘画的重新思考的原因、细节、方面和深远的影响，以及它对理解19世纪法国艺术发展模式的意义。
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Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.206
E. Vasileva, Marina E. Monastyrskaia
The article explores the actual for St Petersburg agglomeration problem of preserving and using specialized objects of landscape architecture-historically equipped cemeteries, some of which have the status of a historical and cultural monument. The solution of this problem involves conducting interdisciplinary studies of these architectural and planning forms in order to establish their real value. There are objects the oldest cemeteries of the Pushkin district — Alexandrovskoye, Kuzminskoye, Moskovskaya Slavyanka, Pavlovskoye, Pokrovskoye, Shusharskoye and the most studied and therefore well-known to the Kazanskoye urban community in Pushkin (Tsarskoye Selo). The emergence and functioning of the latter is related to the cultural, historical and urban development of Tsarskoye Selo Sofia. The article presents the results of historical, architectural, urban planning and cultural researches carried out by the authors using a significant number of primary sources: textual, iconographic, statistical, cartographic and planographic archival documents, a large volume of which was first introduced into scientific circulation. The result of the work was the identification of the military memorial object of national significance — the Tsarskoye Selo military necropolis as an independent architectural and planning form of special purpose. The features of its formation are determined as part of cemeteries of the Tsarskoye Selo Military Hospital (mid-19th century), the Tsarskoye Selo military Cemetery (1887), the new cemetery of the Tsarskoye Selo garrison (1914) and the Tsarskoye Selo Fraternal Cemetery (1914). The specifics of its institutionalization and design and construction implementation, the patterns of spatial organization and architectural and landscape design, the trends of modern use are established. The study is carried out taking into account the phenomenology of the gradotypological transformation of Tsarskoye Selo Sofia: the district city of the St Petersburg province, the paramilitary suburb of Tsarskoye Selo, the prestigious residential district of Pushkin.
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Pub Date : 2021-10-02DOI: 10.21638/spbu15.2021.304
V. Poznin
Although the main visual information in film is carried out by the shape of objects, their position in space and their correlation with other objects, color in the motion picture also plays a significant role because the color scale has a strong aesthetic and emotional impact on the viewer. Color is often an organic part of the dramaturgy of film. The exact coloristic solution of a frame, episode or film is able to create the desired atmosphere of action. Different screen chronotopes are often indicated with the help of color — it could be an artistic space of reality, memories, fantasies or a movie character’s dreams. Color helps to convey the subjective perception of reality by the film’s heroes. In a certain context, the color scheme of a film, shot or an individual object, can acquire a metaphorical or symbolic sound. Cinematography initially adopted many of the techniques related to compositional and light-color solutions from painting, which is especially noticeable in the works of directors who pay great attention to the plastic solution of the frame. Today with the introduction into filmmaking of digital technologies, work on the visual solution and color harmonization of the screen image is becoming in many ways similar to the art of an artist. The article analyzes and summarizes the creative experience accumulated by cinema in working with color images and investigates the functional role of color in film, the psychophysiological and emotional impact of color on the viewer, the symbolism of color, and various methods of color solutions in modern films.
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Pub Date : 2021-10-02DOI: 10.21638/spbu15.2021.305
Tatiana V. Volskaia
For many centuries, Western European art drew its subjects from ancient history, mythology and the Bible. The artists paid great attention to the depiction of saints, for each of whom, over time, a pictorial canon with its own attributes and certain subjects was formed. As a result, the viewer not only easily recognized a particular saint, but he could also get acquainted with the facts of his biography and the role he played in the history of the church. Saint Jerome of Stridon was one of the most popular among artists, of all the Fathers of the Church he was portrayed more often than others. The article discusses the formation of this canon on the example of Jerome’s life and work. It is based on a literature review of this topic and it contains the main studies of the biography and literary activity of Jerome, from which the artists drew subjects for their works. The article describes chronologically the vitae of St. Jerome, his hagiography from Jacobus de Voragine’s “The Golden Legend”, biography and posthumous legends, miracles and appearances of the saint from “Hieronymianus” by Giovanni d’Andrea. Erasmus of Rotterdam wrote a historical biography of Saint Jerome. Since the 19th century a large number of scientific studies of Jerome’s life and work has appeared. The article analyzes specific works of Jerome, which were also sources for pictorial images. Special attention is paid to a review of art history literature, as well as medieval bestiaries, since the paintings with St. Jerome are filled with numerous symbolic animals. A review of literature and sources on the stated topic will help stimulate researchers to further study the relationship between the lives of saints and their iconography in art, identify gaps in research on this topic and specify aspects that researchers have not yet paid attention to.
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Pub Date : 2021-10-02DOI: 10.21638/spbu15.2021.310
V. Bass
The article discusses practices of architectural commemoration of the most tragic event in the history of St. Petersburg — Leningrad, the siege. Architects started producing projects for the future memorials in the first months of the unprecedented blockade of the city. During the postwar period some impressive monuments were erected, including one at the Piskarevskoe Memorial Cemetery. There were also dozens of designs submitted to several architectural competitions during the 1950–60s. In the 1960s, Leningrad went through two open architectural competitions for the memorial dedicated to the defenders of the city in the Second World War. The designs were widely publicized, provoking public response going far beyond Soviet standards of freedom of expression in discussing the tragic past. Building on a considerable body of archival materials, the article examines the history of the Monument to the Heroic Defenders of Leningrad and the shaping of its architectural language. Simultaneously, it analyzes some commonalities of “memorial discourse” reflected in feedback texts. The critical responses demonstrate various attitudes towards the contemporary (late modern) architectural characteristic of the majority of competition entries and various visions of its appropriateness for the commemoration of the Siege. Eventually erected in 1975, the monument turned out to be a compromise between the architects’ and laymen’s visions, between the highly modernist style fashioned by the architects and the expectations of the audience that was skeptical about “Western modernism” and “abstraction” and demanded a narrative memorial with figurative sculpture.
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Pub Date : 2021-10-02DOI: 10.21638/spbu15.2021.301
Yury S. Bocharov, M. S. T. Conservatory
This article focuses on the use of sinfonia and ouverture as terms in the Baroque era. Its relevance is due to the fact that an objective picture of the Baroque musical culture is impossible without studying authentic terminology, including terms used as names of musical works or their sections. Since there have been no special musicological publications on this topic, information obtained as a result of the study can expand the traditional ideas about what the terms sinfonia and ouverture meant in the 17th and the first half of the 18th century. Sheet music and manuscripts as well as articles from the largest European dictionaries of that time indicate that the terms had different meanings. They were used not only in orchestral, but also in solo and ensemble music and even vocal compositions could be regarded as symphonies. Moreover, musical compositions or their sections, called sinfonias and overtures were intended not only for theatrical and concert practice, but also for performance at court and in even at church. According to the author, the terms sinfonia and ouverture in the Baroque era, in contrast to modern practice, were used as genre names only in regard to so-called Neapolitan opera symphonies and French overtures. Thus, these terms were generally used much more diversely than it follows from those traditional perceptions on which the modern theory of musical genres is largely based.
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Pub Date : 2021-10-02DOI: 10.21638/spbu15.2021.307
P. Podshivalova
This article proposes the hypothesis that the paintings “A Room in a Dutch House” (late 1660s — early 1670s) and “Woman Reading” (1660) by Delft artist of genre scenes Pieter Janssens Elinga (1623–1682) are paired and in a mutual dialogue and the New Testament parable is told about Martha and Mary, as a symbol of two worldviews — contemplative and effective, spiritual and material. The proposed assumption is mainly justified by comparing biblical texts (the Gospel of Luke, the Epistle of James and others) with the figurative system of paintings examined and sequentially interpreted in the context of emblematic and Protestant thinking. Thus, upon a detailed and comprehensive examination of the painting “A Room in a Dutch House”, the image of Martha appears to be much more complex and paradoxical than at first glance — the imposition of a peculiar Protestant hierotopy of order on the plot canvas reveals a new meaning to the depicted scene. A study of paintings belonging to the beginning of the 17th century and dedicated to the life of Saints Martha and Mary made it possible to discover on the canvases of Elinga both traditional iconographic motifs and a conscious departure from them. Particular attention is paid to the specifics of the creative method of the master and his connection with the trends of the Delft school of art, especially with the work of Pieter de Hooch. In conditions of shortage of scientific material, this work is of scientific value. Thus, the interpretation proposed in the article turns the biblical parable into a link between the studied canvases.
本文提出了一种假设，即代尔夫特风格场景艺术家Pieter Janssens Elinga(1623-1682)的画作“荷兰房子里的一个房间”(1660年代末- 1670年代初)和“女人阅读”(1660年)是成对的，在相互对话中，新约寓言讲述了玛莎和玛丽，作为两种世界观的象征-沉思和有效，精神和物质。提出的假设主要是通过比较圣经文本(路加福音，雅各书等)和绘画的具象系统来证明的，并在象征主义和新教思想的背景下依次解释。因此，在对这幅画“荷兰房子里的一个房间”进行详细和全面的检查后，玛莎的形象似乎比乍一看要复杂和矛盾得多——在情节画布上强加一种特殊的新教等级秩序，揭示了所描绘场景的新含义。对17世纪初的画作的研究，致力于圣徒玛莎和玛丽的生活，使人们有可能在埃林加的画布上发现传统的图像主题和有意识地偏离它们。特别关注大师的创作方法的细节以及他与代尔夫特艺术学院趋势的联系，特别是与Pieter de Hooch的作品。在缺乏科学资料的情况下，这项工作具有科学价值。因此，文章中提出的解释将圣经寓言变成了研究画布之间的联系。
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Pub Date : 2021-10-02DOI: 10.21638/spbu15.2021.303
Aleksandr E. Ganelin
The experience of the pedagogical work of the Studio Vsevolod Meyerhold on Borodinskaya Street (1914–1917) to a large extent can be considered one of the important sources of the methodological and pedagogical model inherent in the modern Leningrad — Petersburg theatre school. The education principles of the synthetic actor and director, developed within the studio, combined innovations in the work of teachers and their students both at individual stages of the pedagogical process and on the path to creating a “new” theatre, in a broad understanding of this phenomenon of cultural life at the beginning of the XX century. The unique theatre school-studio became an autonomous art structure, independent of the staffing and financial demands of repertoire and private theatres that studios during this period experienced. For Meyerhold and other teachers of the Studio, particularly, Vladimir Solov’ev, a top priority was reviving the stage technique commedia dell’arte. The student plays of the studio fully reflected the undoubted successes and, naturally, the vulnerabilities inherent in such innovative searches. The article analyzes the detailed list of stylistic, mise-en-scenic and decoration production solutions proposed by Meyerhold and Yuri Bondi, the opportunity to improvise in a pre-prepared directorial plan. Sergei Radlov, a participant in the Studio at Borodinskaya, continued his creative search in the approach proposed by Meyerhold for the development of an improvisational synthetic theatre. Radlov’s directorial and pedagogical work in the studios of Kurmascep, “Popular comedy” (Narodnaya Comediya), etc., at the Institute (later Technical School) of stage arts deserves additional consideration in terms of the scientific analysis of the evolution of his innovative views at the beginning of the century and their interconnection with traditional approaches to theater education and stage practice of those years.
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Pub Date : 2021-10-02DOI: 10.21638/spbu15.2021.308
Sergey P. Purgin
Since Walter Benjamin in “The Theses on the Philosophy of History” showcased Paul Klee’s angels, they remain mysterious figures that represent time, history or soul. The article focuses on the series of drawings that were created in the artist’s later period (1939−1940). The series can be regarded as the artist’s final will and testament as it expresses Klee’s condensed philosophy and mature views on man’s place in the universe. It also reflects the master’s cherished artistic methods and techniques, consistently honed in on during the course of his life. The author studies the relations within the series and the series relation to other artworks by Klee. It is demonstrated that it is humankind that is the main theme of the series. By contrasting human and angelic forms in his drawings Klee reinvigorates the European tradition of defining humanity through its relation to angelic orders and through its position on the hierarchy of creation. However, Klee strives to re-imagine the universe as a whole, for him it is not the ladder of perfections, which rises to angels and God. Therefore, the relations between human and angelic creatures are intimately familial rather than hierarchical. The author highlights that the artistic style and techniques emphasize visual dynamic and form creation (“formation”). In depicting angels, the artist brings forth his concern with temporal dimension of human nature and its significance in human life. Thus, in this dynamic interrelation, human beings become “angelic grotesque” with their own ontic temporality. This temporality specific to human creatures is defined as the “moment that transcends itself ” — since the latter is essentially “ecstatic” and “self-propelling”.
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Pub Date : 2021-10-02DOI: 10.21638/spbu15.2021.309
Ivan Sablin
On the example of the activities of the German art historian Kurt Badt, the article reveals the complex relationship between modern art and contemporary art history. The outstanding and, obviously, underestimated figure of the scholar, who throughout his long life was ready to confront the rest of the discipline unwilling to become a part of the university system, with all his creativity embodied the very idea of freedom that modern artists and sympathizing art critics strove for. Due to the availability of English-language versions of the art historian’s texts mainly on the masters close to modern art — Delacroix, Constable, and Cézanne — his position in the dispute about modernism seems more or less unambiguous. The aim of this article is to show that this is far from the case, discovering the points of contact of Badt with many of his colleagues who have earned a reputation as unconditional conservatives. First of all, it concerns the Austrian art theorist Hans Sedlmayr, an interest for whom, especially in recent times, is predetermined by widespread ideas about the fundamental incompatibility of academic art history with attempts of unbiased consideration of the history of modern art. Moreover, a deep kinship of such research activity with the most reactionary political ideas is also widely discussed, which, as it should be noted, this outstanding critic of the modern culture was not absolutely innocent of. Nevertheless, his clash with Badt, a polemic that took place in the 1950s and 60s, centered on the work of not Cézanne, but Vermeer van Delft, can be considered from the point of view of the attitude of the two scholars to phenomena less distant in time. This makes it possible to raise the question of the paradoxical similarity of the views of these two authors — with such a different creative and human destiny.
本文以德国艺术史学家库尔特·巴德的活动为例，揭示了现代艺术与当代艺术史之间的复杂关系。这位杰出的、显然被低估了的学者，在他漫长的一生中，准备好面对学科的其余部分，不愿成为大学系统的一部分，他所有的创造力体现了现代艺术家和富有同情心的艺术评论家所追求的自由理念。由于英文版本的艺术史学家的文本主要是关于接近现代艺术的大师-德拉克洛瓦，康斯特布尔和csamzanne -他在关于现代主义的争论中的立场似乎或多或少是明确的。本文的目的是通过发现巴德特与他的许多同事的接触点来证明情况远非如此，这些同事赢得了无条件保守主义者的声誉。首先，它涉及奥地利艺术理论家汉斯·塞德迈尔(Hans Sedlmayr)，尤其是在最近，他的兴趣是由关于学术艺术史与对现代艺术史的公正考虑的根本不相容的普遍观点所决定的。此外，这种研究活动与最反动的政治思想之间的深刻亲缘关系也被广泛讨论，应该指出的是，这位杰出的现代文化批评家并非绝对清白。尽管如此，他与巴德的冲突，发生在20世纪50年代和60年代的一场争论，焦点不是csamzanne的作品，而是Vermeer van Delft的作品，可以从这两位学者对时间较近的现象的态度的角度来考虑。这就有可能提出这样一个问题，即这两位作者的观点自相矛盾的相似之处——他们的创作和人类命运是如此不同。
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