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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.
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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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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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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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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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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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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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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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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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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Zavyalova, Anna E. "“The House on Fontanka”: Formation of the Image of Petersburg in Mstislav Dobuzhinsky’s Works." Observatory of Culture 16, no. 5 (December 4, 2019): 526–35. http://dx.doi.org/10.25281/2072-3156-2019-16-5-526-535.
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The article examines a number of graphic works by M.V. Dobuzhinsky: the drawings “Magnificent City, Poor City...”, “View of a Petersburg House”, and a decorative drawing with a fragment of a house in the style of classicism. In spite of the fact that M.V. Dobuzhinsky’s creativity is quite well studied, these works are considered for the first time in the article, in order to explore the process of finding the original artistic language in which the master “spoke” about his favorite city. The article identifies the architectural monuments of St. Petersburg that served as prototypes of those depicted, reveals the sources (visual and literary), analyzes the stylistic features. The scientific novelty of the article is defined by a new methodological approach to studying M.V. Dobuzhinsky’s graphic heritage considered in the context of intersection of literature and fine arts — Russian, Western European and Japanese. For the first time, the author makes an attempt to determine the stylistic affiliation of the mentioned works. Their traditional (formal) analysis, in comparison with works by Hiroshige, A. Dürer, G.B. Piranesi, E.E. Lansere, and J. Whistler, is supplemented by an analysis of M.V. Dobuzhinsky’s memoirs and letters. This significantly expands the existing ideas about the visual sources of the artist’s work. The article reveals that the drawings “Magnificent City, Poor City...”, “View of a Petersburg House”, as well as the decorative drawing with a fragment of a house in the style of classicism, depict the house of Galashevsky — V.Ya. Lebedev (87, Fontanka Embankment). The author ascertains the influence of Hiroshige’s woodcuts from the series “One Hundred Famous Views of Edo” on the artistic solution of the drawing “Magnificent City, Poor City...”, as well as on the drawing “Market” by E.E. Lansere, who, in turn, had influenced the abovementioned drawings by M.V. Dobuzhnisky. The article shows that A. Dürer’s and G.B. Piranesi’s engravings influenced the artistic solution of the drawing “View of a Petersburg House”, likewise J. Whistler’s etchings and lithographs exerted influence on a number of works by M.V. Dobuzhinsky and E.E. Lansere. The author concludes that M.V. Dobuzhinsky’s works over various versions of images of the house of Galashevsky — V.Ya. Lebedev were in line with his intensive creative experiments: the search for his own vision of the image of Petersburg.
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Сурис, Борис. "Листок из частного архива (К истории журнала Жупел’)." Experiment 19, no. 1 (2013): 198–221. http://dx.doi.org/10.1163/2211730x-12341247.
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Abstract This essay details the production history of Zhupel (Bugbear)—a journal of artistic satire published in St. Petersburg in the winter of 1905-1906 by several key artists of the World of Art collective. A starting point of this inquiry is a note casually composed by one of the journal’s contributors, Mstislav Dobuzhinsky, to record various titles suggested for the journal at a World of Art gathering. The article reconstructs the origins of Zhupel and gauges the journal’s reception by the public and the official establishment, the nature and extent of the oppositional sentiment of various members of the World of Art (and their affiliates), as well as the artists’ involvement in the events of the period and in the business of publishing satirical journals. Also discussed are various literary-artistic alliances between the modernists of the World of Art and the realist writers of Maxim Gorky’s Znanie (Knowledge) cooperative that informed the verbal and visual content of the journal.
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Jančárková, Julie. "Nikolay Okunev and the biggest exhibition of Russian art in Czechoslovakia." Slavic Almanac, no. 1-2 (2019): 270–81. http://dx.doi.org/10.31168/2073-5731.2019.1-2.3.03.
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The preparation of the biggest exhibition of Russian art organized by the Institute of Slavonic Studies in Prague and N. L. Okunev strated even before Czechoslovakia recognized the USSR. The chosen works of art originated from private collections in Europe and emigrant artists. The establishing of diplomatic relations between the CSR and the USSR in the summer of 1934 resulted in creating new rules for the Czech organizations when working with the Russian emigrants. It started a conflict in the working commission that was organizing the exhibition. A disadvantageous background for the event was the Czech “Manes” organizing an exhibition of Russian and Soviet art from Soviet collections that finally did not take place. The historians of art F. Kovarna, J. Květ, and V. Volavka left the commission because they did not want to exhibit the works by N. Goncharova, M. Larionov, M. Dobuzhinsky, A. and N. Benois, Z. Serebryakova, B. Grigoryev, F. Malyavin and many others and without works of art kept in Soviet museums to take part. In spite of this protest and connected organizational problems, the exhibition took place. It reflected the original view of Okunev on the history of Russian art. But the rumour that it represented works of art that had lower quality created a shadow of conflict that accompanied it before it ended. Later the myth about the low quality of the exposition became stronger. Unquestioned critically, it continues to live in the works of respected specialist even nowadays.
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Bogdanova, Olga. "Bibliography of Georgy Chulkov’s literary and critical works of 1903 –1922." Literary Fact, no. 16 (2020): 413–35. http://dx.doi.org/10.22455/2541-8297-2020-16-413-435.
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Bibliography of literary and critical works (books, articles, reviews, conversations, notes, “letters”, etc.) by Georgy Ivanovich Chulkov (1879 –1939), compiled and published on these pages for the first time, gives an idea of the range of creative interests and the evolution of aesthetic views of one of the major literary and cultural figures of Russian Symbolism in the first two decades of the 20th century. Poet, translator, novelist, playwright, literary critic and journalist, publisher, and since the 1920s also a literary critic, who created serious scientific works about A.S. Pushkin, F.I. Tyutchev, F.M. Dostoevsky and other writers, and memoirist, author of valuable memoirs about the literary life of the Silver Age “Years of travel” (1930), Chulkov was also a sensitive theater and art critic, who collaborated with V.F. Komissarzhevskaya, V.E. Meyerhold, M.V. Dobuzhinsky, E.E. Lansere, Z.A. Serebryakova and others. Having linked his creative fate with such iconic magazines of the Silver Age as “Novyi put'”, “Voprosy zhizni”, “Zolotoe runo”, and then “Narodopravstvo”, whose editorial policy he influenced and in some cases determined, Chulkov often and regularly acted as a literary critic, ideologist of literary trends of “mystical anarchism” and “mystical realism”, a fighter for the social and national significance of contemporary literature. Chulkov's literary criticism is not only an important part of his creative legacy, but also an irreplaceable feature of the complex and diverse literary movement of the first two decades of the 20th century
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Fomin, Dmitry V. "The Theme of the Revolution in the Children’s Books of the 1920-ies." Bibliotekovedenie [Russian Journal of Library Science] 67, no. 1 (April 22, 2018): 61–68. http://dx.doi.org/10.25281/0869-608x-2018-67-1-61-68.
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Reflection of the events of the October Revolution of 1917 in the domestic publications for children in the 1920-ies — early 1930-ies is a very significant and interesting, but insufficiently studied topic. This theme had been mainly explored from the standpoint of literary analysis, without considering peculiarities of the crucial component of the books graphics. In the article there is made an attempt to analyse mainly from the bibliological and art critical point of view a number of editions, directly or indirectly related to the theme of Revolution, to consider stylistic features of their external design, to identify the most typical art techniques used by illustrators of those years. The considered period is interesting because there were no ready-made models to emulate for the writers and artists, there were no rigid canons of the “Revolutionary children book”; the most important topic from the point of view of Soviet ideology had been mastered by trial-and-error method. In the mid-1920-ies, writers and graphic artists preferred the allegorical, fairy-tale interpretations of the Revolution theme: in the illustrative cycles of such different masters, as M.V. Dobuzhinsky, B.V. Joganson, D.A. Bulanov, V.S. Tvardovsky, the victorious revolts were committed in a fantastic country, in the kingdom of toys or in the world of animals. Rather unsuccessful should be recognized the experience of graphical interpretation of revolutionary themes with the use of heavy-weight allegories; much more convincing, though not undisputed, was the method of describing the class battles from the point of view of a child. In publications of the early 1930-ies, all sorts of allegory give way to the direct access to the historical events of 1917; however, the graphical language of the books remains conditional. In the works of A.I. Poret, P.M. Kondratyev, B.I. Inozemtsev, N.V. Svinenko, the epic scale of the Revolution is emphasized with the use of unexpected lines of sight, bold spatial solutions; and primitive style is often synthesized with the techniques of avant-garde art. Using different strategies of mythologization and poetization of the Revolution, illustrators were successfully resolving the problem of not only political, but also aesthetic education of the younger generation.
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Филиппова, Ольга Николаевна. "The theme of the city in the creative work of M.V. Dobuzhinsky (1875 – 1957)." Искусство Евразии, no. 2(9) (June 28, 2018). http://dx.doi.org/10.25712/astu.2518-7767.2018.02.004.
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Мстислав Валерианович Добужинский (1875–1957) относится к художникам, творчество которых принадлежит как русской, так и мировой культуре. Он родился и жил в России, затем в Литве, Америке, многие годы провел в европейских странах – Англии, Франции, Италии. Испытав влияние различных художественных школ и направлений, творчество М.В. Добужинского тем не менее сохраняет цельность, в основе которой лежит верность русской культуре – ее темам и художественным принципам, сложившимся в начале XX века в «Мире искусства». Своеобразный творческий метод М.В. Добужинского складывается в жанре городского пейзажа. Тот факт, что в ретроспективных картинах мирискусников главным лирическим героем оказывается пейзаж, чаще всего архитектурный по характеру, видимо повлиял и на возникновение в творчестве М.В. Добужинского темы города – памятника культуры. В отличие от своих друзей художник остается равнодушен к изображению архитектуры в ретроспективных картинах, предпочитая показывать жизнь прошлого в современности. Mstislav Valerianovich Dobuzhinsky (1875 – 1957) refers to the artists whose work belongs to both the Russian and world culture. He was born and lived in Russia, then in Lithuania, America, spent many years in European countries – England, France, Italy. Having experienced the influence of various art schools and trends, the work of M. V. Dobuzhinsky nevertheless retains integrity, which is based on loyalty to Russian culture – its themes and artistic principles established in the early XX century in the «World of art». A kind of creative method of M. V. Dobuzhinsky is in the genre of the urban landscape. As in the retrospective paintings of the members of the main lyrical hero is the landscape, often architectural in character, it seems to have affected the appearance in the works of M. V. Dobuzhinsky themes of the city – cultural monument. Unlike his friends, the artist remains indifferent to the image of architecture in retrospect paintings, preferring to show the life of the past in modern times.
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Shiells, Svitlana. "Mstislav Dobuzhinsky and ukiyo-e: new visual horizons." Menotyra 25, no. 1 (May 3, 2018). http://dx.doi.org/10.6001/menotyra.v25i1.3690.
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For Western modern artists Japonisme was like a new religion – a stimulus that offered salvation from the conservative grasp of academism and unimaginative realism. Fin de siècle Eastern European artists also gradually developed a strong fascination with Japan and its culture. This paper examines one of the most enthusiastic advocates of Japonisme – a Russian-Lithuanian artist Mstislav Dobuzhinsky. Placing Dobuzhinsky’s art in the broader context of Eastern European Japonisme, this paper examines the role of Japanese stimuli in Dobuzhinsky’s artistic pursuits. Starting from the early 1900s, Dobuzhinsky’s art was visibly recast under the influence of Japanese aesthetics. The paper argues that Japanese aesthetics brought electrifying new ideas into Dobuzhinsky’s art and not only played a seminal role in the formation of his style but may have ignited his interest in graphics.