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引用次数: 0
摘要
这两本书不仅在散文集的形式上有共同之处,而且在主题(18世纪俄罗斯与欧洲的文化互动)上也有共同之处。在艺术史领域,关于这一问题的俄语学术工作在很大程度上归功于d.v.萨拉尼亚诺夫的开创性研究,他在欧洲学派的背景下研究了19世纪的俄罗斯绘画在这本书之前,艺术学者倾向于孤立地考虑俄罗斯和欧洲艺术。Sarab ø ianov旨在确定两者共同的艺术过程的一般特征,并揭示具体现象的国家特征;在这个过程中,他揭示了不同传统之间的各种联系,开创了一种方法论上的新方法。他不仅考虑了一般问题(在欧洲背景下俄罗斯浪漫主义、现实主义、印象派和现代主义的具体情况),而且还考虑了更具体的问题(比较A. G. Venetsianov圈子的艺术家与德国比德迈尔艺术、A. A.伊万诺夫和苏联画家)
Connections between 18th-Century Russian and European Culture
Both of the books reviewed here share commonalities not only in their essaycollection format but also in their subject (cultural interactions between Russia and Europe in the 18th century). Russian-language scholarly work on this problem in the field of art history owes much to the pioneering research of D. V. Sarab ́ianov, who studied 19th-century Russian painting in the context of European schools.1 Before this book, scholars of art tended to consider Russian and European art in isolation from one another. Sarab ́ianov aimed both to identify the general features of artistic processes common to both and to reveal the national specifics of concrete phenomena; in the process, he uncovered a variety of links among different traditions, inaugurating a methodologically novel approach. He considered not only general problems (the specifics of Russian Romanticism, Realism, Impressionism, and Modernism in the European context) but more specific ones as well (comparing artists of A. G. Venetsianov’s circle and German Biedermeier art, A. A. Ivanov and the
期刊介绍:
A leading journal of Russian and Eurasian history and culture, Kritika is dedicated to internationalizing the field and making it relevant to a broad interdisciplinary audience. The journal regularly publishes forums, discussions, and special issues; it regularly translates important works by Russian and European scholars into English; and it publishes in every issue in-depth, lengthy review articles, review essays, and reviews of Russian, Eurasian, and European works that are rarely, if ever, reviewed in North American Russian studies journals.