Relevant bibliographies by topics / Dobuzhinskiĭ

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Academic literature on the topic 'Dobuzhinskiĭ'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Dobuzhinskiĭ"

1

Ustinov, Andrei B. "A Portrait of an Artist in Germany: Mstislav Dobuzhinsky and “Russian Berlin”. Part Two: “Aquilon” in Berlin." Studies in Theory of Literary Plot and Narratology 14, no. 2 (2019): 178–97. http://dx.doi.org/10.25205/2410-7883-2019-2-178-197.

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This essay continues the publication “From Petrograd to Europe” in the series “Portrait of an Artist in Germany: Mstislav Dobuzhinsky and ‘Russian Berlin’,” published in the previous issue of “Studies in Theory of Literary Plot and Narratology.” This installment focuses on Dobuzhinsky’s publishing activities, specifically his books “Reminiscences of Italy” and “Petersburg in the Year Twenty One,” which appeared during the artist’s stay in Germany. The author discusses the émigré press’ reception of the books and albums published by the “Aquilon” publishing house in Petrograd, which was led by Fёdor Notgaft, a close friend of Dobuzhinsky and his confidant. In turn, as an art editor for “Aquilon” Dobuzhinsky developed the publishing program together with Notgaft. The author presents a variety of reviews of Dobuzhinsky’s “Reminiscences of Italy” from the newspapers of “Russian Berlin,” and demonstrates how the critics’ opinions varied depending on their chosen ideological platform. The author discusses the “grattography” technique used by Dobuzhinsky to illustrate the book. This graphic technique was invented by him and applied in “Reminiscences of Italy” for the first time. By the end of 1923, a few copies of Dobuzhinsky’s “Petersburg in the Year Twenty One” reached Berlin. This album was published by the Committee for the Promotion of Artistic Publications of the Russian Academy of the History of Material Culture with an introductory essay by Stepan Yaremich, an art scholar and Dobuzhinsky’s colleague at the “World of Art” society. Yaremich’s introduction presented Dobuzhinsky as an incomparable visionary, who mastered different art techniques, especially graphics. Ironically, Petr Shutiakov’s review of “Petersburg in the Year Twenty One,” appeared in the Berlin newspaper “Rudder” at exactly the same time as the official announcement about Petrograd to be renamed Leningrad.
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2

Galkova, Alyona V. "The verbal portrait in the memoirs of M.V. Dobuzhinskiy." Vestnik Tomskogo gosudarstvennogo universiteta, no. 401 (December 1, 2015): 26–33. http://dx.doi.org/10.17223/15617793/401/4.

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3

Markov, Alexander. "Scenery by M. V. Dobuzhinsky as a Version of Pushkin Studies." Literatūra 62, no. 2 (November 2, 2020): 202–15. http://dx.doi.org/10.15388/litera.2020.2.12.

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The sets by M. V. Dobuzhinsky for the operas by Mussorgsky and Tchaikovsky based on Pushkin’s works represent an attempt to reconstruct Pushkin’s world and Pushkin’s attitude to history. The libretto required a stylization and standardization of scenography, but Dobuzhinsky continued to interpret the images of St. Petersburg and central Russia, correlating the plots of operas with a new national upsurge. Thus, the plot of The Queen of Spades was understood as part of Pushkin’s view on the successes and failures of the Petrine reforms, about the connection between adventurism and the imperial style, which corresponded to the general cultural myth of Petersburg but was supplemented by a number of observations on the Pushkin text. The plot of Boris Godunov was read not as a Russian story, but as a common one for countries inheriting the Polish-Lithuanian Commonwealth and Russia. The plot of Eugene Onegin was brought closer to the dacha plots of Russian literature, becoming part of the integrated image of a lost Russia. It is proved that Dobuzhinsky in his decisions followed not the structure of the libretto, but a close reading of Pushkin’s texts.
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4

Ustinov, A. B. "Mstislav Dobuzhinsky and His Cabaret Companions: 1926 Parisian Season of the “La Chauve Souris”." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 490–595. http://dx.doi.org/10.25205/2410-7883-2020-2-490-595.

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The essay is dedicated to collaboration of Mstislav Valerianovich Dobuzhinsky (1875‒1957) with the Parisian theater “Chauve-Souris,” or “The Bat,” under the direction of the actor, entertainer, stage director and inspirer of the Russian cabaret Nikita Balieff (real name: Mkrtich Balyan, in Armenian: Նիկիտա Բալիեւ; 1877 (?) ‒ 1936). He invited Dobuzhinsky, who was in Berlin at the time, to become the Artistic Director and the lead designer for a new show of his theatre in the season of 1926. Balieff had already established himself as a successful European entrepreneur, and his cabaret theater had three successful tours on Broadway over six years. Dobuzhinsky accepted his invitation, hoping to improve his financial situation, as after more than a year spent in Europe he could not achieve that stability either in Riga, Kaunas, or Berlin. At the end of May, he began preparing the program for the new Paris season in alliance with choreographer Boris Romanov and playwright Piotr Potemkin. Also Dobuzhinsky invited collaboration of his son Rostislav and his wife Lidia Kopnyaeva in designing the sets for Balieff’s interludes. The premiere of the new program took place on October 1, and it gained success and accolades in Paris and later in Berlin. The season of 1926 was perhaps the most significant in the history of “The Bat,” but at the same time decisive for Baliev, since it marked the exhaustion of the very idea of Russian cabaret theater abroad. Despite the fact that the American tour was then canceled, “The Bat” still ended up on Broadway in late autumn of 1927. This program was the last for Balieff’s theater, as to how it was greeted and loved in America. It was already a completely different “Chauve-Souris,” the “Continental”, as American critics called it, of little interest to both Parisian and Broadway audiences.
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5

Zavyalova, Anna E. "Hoff mann’s Works in the Art of Mstislav Dobuzhinsky." Observatory of Culture 14, no. 3 (January 1, 2017): 330–35. http://dx.doi.org/10.25281/2072-3156-2017-14-3-330-335.

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6

Zavyalova, Anna E. "A.S. Pushkin’s Works in the Graphics of M.V. Dobuzhinsky." Observatory of Culture 15, no. 5 (December 14, 2018): 584–91. http://dx.doi.org/10.25281/2072-3156-2018-15-5-584-591.

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The article introduces into scientific discourse, and examines a number of M.V. Dobuzhinsky’s works: it traces the process of working on them, identifies their sources (literary and visual), analyzes the stylistic features and the specifics of the graphic techniques. These tasks are performed within the context of interaction between literature and fine arts. This topic is relevant because M.V. Dobuzhinsky’s illustrations to the stories “Stationmaster” and “Squire’s Daughter”, the play “Covetous Knight”, and the poem “Magnificent City, Poor City...” by A.S. Pushkin are studied as works of fine art for the first time.The scientific novelty of the article lies in the fact that it introduces an experience of defining the stylistic affiliation of the said works, and reveals a number of their visual sources. The author uses the method of complex analysis, combining the source analysis of M. Dobuzhinsky’s memoirs and his letters, the works of the artist’s contemporaries devoted to the Russian art of the beginning of the 20th century, and the traditional formal analysis of his works in comparison with those of Rembrandt, A. Benois, A. Dürer, F. Tolstoy, Japanese engravings of the 18th — beginning of the 19th century. This allows a significant expansion of existing ideas about visual and literary sources of the artist’s works.The article reveals that Rembrandt’s etching “View of Amsterdam from the Northwest” influenced the artistic solution of the illustration “In the Carriage” for the story “Stationmaster”; Hiroshige’s sheets influenced the illustration “Vyrin at the Entrance of Minsky’s House” for the same story. A. Dürer’s woodcuts influenced the solution of the illustration “Scene 1” for the play “Covetous Knight”; F. Tolstoy’s silhouettes influenced the vignettes and the artistic solution of the illustrations and decorations for the story “Squire’s Daughter”. The article also finds that H.Ch. Andersen’s tales “The Old House” and “The Old Street Lamp” had predetermined M. Dobuzhinsky’s appeal to the story “Stationmaster”, and the graphic solution of St. Petersburg in the picture “View of the St. Petersburg House”. The author concludes that M. Dobuzhinsky’s illustrating of Pushkin’s works was in line with his intense creative experiments: searching for a new solution to the image of St. Petersburg in book graphics, rethinking and “quoting” the masters of the past.
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7

Ustinov, A. B. "Andersen in Petrograd: Mstislav Dobuzhinsky and “The Comedians’ Camp”." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 423–61. http://dx.doi.org/10.25205/2410-7883-2020-2-423-461.

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In this article, the author proposes a detailed reconstruction of Mstislav Dobuzhinsky’s artistic activity at “The Comedians’ Camp” cabaret, against the backdrop of the Petrograd culture in 1916–1919. Special attention is paid to the Dobuzhinsky’s creative relationship with prominent writers, artists and stage directors: Boris Pronin, Mikhail Kuzmin, Piotr Sazonov and Yuliia Slonimskaya-Sazonova, Piotr Potiomkin and Boris Romanov, Marc Chagall. Also, Dobuzhinsky’s diaries for 1919 are published here for the first time.
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8

Fomin, Dmitry V. "Rise and Fall of “Galchonok” Magazine." Bibliotekovedenie [Russian Journal of Library Science], no. 4 (August 15, 2012): 59–67. http://dx.doi.org/10.25281/0869-608x-2012-0-4-59-67.

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The article is devoted to the history of children's magazine “Galchonok” (1911-1913), which had anticipated many of the artistic, educational, journalistic innovations of the Soviet period, ahead of its time. There are described the works of the best Russian graphic artists of different directions: A.A.Radakov, N.V.Remizov, M.V. Dobuzhinsky, V.V. Lebedev, N.E. Radlov and others, published on pages of this edition.
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9

Ustinov, A. "Lettering and pattern: Mstislav Dobuzhinsky at the Petrograd “House of Arts”." Rhema, no. 4 (2020): 49–134. http://dx.doi.org/10.31862/2500-2953-2020-4-49-134.

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10

Galkova, Alyona V. "FEATURES OF PICTORIAL EKPHRASIS IN THE MEMOIRS AND BIOGRAPHICAL PROSE OF A.N. BENOIS AND M.V. DOBUZHINSKIY." Tekst. Kniga. Knigoizdanie, no. 11(2) (August 1, 2016): 27–48. http://dx.doi.org/10.17223/23062061/11/3.

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Books on the topic "Dobuzhinskiĭ"

1

Benois, Alexandre. Aleksandr Nikolaevich Benua i Mstislav Valerianovich Dobuzhinskiĭ: Perepiska (1903-1957). Sankt-Peterburg: Sad iskusstv, 2003.

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2

Dobuzhinskiĭ, Mstislav Valerianovich. Pisʹma. Sankt-Peterburg: D. Bulanin, 2001.

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3

Dobuzhinskiĭ, Mstislav Valerianovich. Pisʹma. Sankt Peterburg: Dmitriĭ Bulanin, 2001.

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4

Dobuzhinskie chtenii︠a︡ (2000 Velikiĭ Novgorod, Russia). Dobuzhinskie chtenii︠a︡: 25 mai︠a︡ 2000 goda. Velikiĭ Novgorod: Novgorodskai︠a︡ oblastnai︠a︡ universalʹnai︠a︡ nauchnai︠a︡ biblioteka, 2001.

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5

Lapo, O. M. (Olʹga Mikhaĭlovna) and Petrova, L. A. (Li︠u︡dmila Alekseevna), eds. Dobuzhinskie chtenii︠a︡: 25 mai︠a︡ 2000 goda. Velikiĭ Novgorod: Obl. universalʹnai︠a︡ nauch. biblioteka, 2001.

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6

Chugunov, G. I. Mstislav Valerianovich Dobuzhinskiĭ, 1875-1957. Leningrad: "Khudozhnik RSFSR", 1988.

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7

Dobuzhinskie chtenii︠a︡: Sbornik stateĭ. Velikiĭ Novgorod: Administrat︠s︡ii︠a︡ Novgorodskoĭ oblasti, 2001.

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8

I, Chugunov G., ed. Vospominanii͡a︡ o Dobuzhinskom. Sankt-Peterburg: Gumanitarnoe agentstvo "Akademicheskiĭ proekt", 1997.

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9

P, Kudinov V., ed. Mstislav Dobuzhinskiĭ: Materialy nauchnykh chteniĭ, posvi︠a︡shchennykh 130-letii︠u︡ M.V. Dobuzhinskogo. Tambov: Izd-vo TGTU, 2006.

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