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Journal articles on the topic 'Imperial Academy of Fine Arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Wünsche, Isabel. "Pavel Chistiakov and Jan Ciągliński: New Approaches to Art Pedagogy in Nineteenth- and Early Twentieth-Century Russia." Russian History 46, no. 4 (2019): 305–19. http://dx.doi.org/10.1163/18763316-04604006.

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Abstract This essay looks at art education in Russia in the nineteenth century, specifically at artist-training practices at institutions such as the Imperial Academy of Fine Arts and the Imperial Society for the Encouragements of the Arts in St. Petersburg. Particular emphasis is on the role and significance of Pavel Chistiakov and Jan Ciągliński, charismatic teachers who developed their distinct art-pedagogical systems as an alternative to the existing academic system and paved the way for the emergence of modern art and the avant-garde in Russia.

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2

Blakesley, Rosalind P. "Pride and the Politics of Nationality in Russia’s Imperial Academy of Fine Arts, 1757-1807." Art History 33, no. 5 (2010): 800–835. http://dx.doi.org/10.1111/j.1467-8365.2010.00782.x.

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3

Khartanovich, Margarita F., and Maria V. Khartanovich. "Museum of Classical Archeology of the 19th-century Imperial Academy of Sciences: The history of organizing and transferring collections to the Imperial Hermitage." Issues of Museology 12, no. 1 (2021): 13–27. http://dx.doi.org/10.21638/spbu27.2021.102.

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The Museum of Classical Archeology of the Imperial Academy of Sciences is the successor to the 18th-century Kunstkamera of the Academy of Sciences in term of collections of classical antiquities. This article discusses in detail the stages of development of the Museum of Classical Archaeology as an institution within the structure of the Academy of Sciences through the Cabinet of Medals and Rarities, Numismatic Museum, and the Museum of Classical Archaeology. The fund of the museum consisted of ancient Greek and Roman coins, ancient Russian coins, coins from oriental cultures, ancient Greek va

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4

Желнова, Елена Геннадьевна. "Roman Basilicas and churches in terms of pensioner of the Imperial Fine Art Academy Petr Sokolov." Искусство Евразии, no. 2(17) (June 27, 2020): 255–63. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.016.

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Статья посвящена исследованию «Итальянского журнала» академика исторической живописи Петра Ивановича Соколова (1753–1791). Ведение журнала, в котором художник записывал те произведения, которые он видел в Риме, находясь там с 1773 по 1778 годы, было обязательным условием для пенсионеров Императорской Академии художеств. В наши дни римский дневник является важным источником, из которого исследователи могут узнать достоверные данные о пребывании художника в Италии. Анализируя записи П.И. Соколова, автор приходит к выводам, что рассматриваемый документ содержит не только описания произведений жив

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5

Grebennikova, Tatiana G. "The History of Museum Specialisation in Russia." Observatory of Culture, no. 6 (December 28, 2014): 60–65. http://dx.doi.org/10.25281/2072-3156-2014-0-6-60-65.

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Deals with the Russian museum practices mainly of the 18th and the 19th century. The author analyses a gradual specialisation in private collection building and museums' development, reveals the role of the highly specialised collections and analyses the trend of establishing museums of the complex character exemplified by the Kunstkammer, the Imperial Hermitage Museum, the Fine Arts Academy Museum, the Rumyantsev Museum, and the Russian Museum. In the 19th century, a trend of gradual differentiation and specialisation became obvious which led to establishing dedicated museums and developing a

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6

Lobasheva, Irina F. "Kazan art school and its heritage in the collection of the State museum of fine arts of the Republic of Tatarstan." Historical Ethnology 5, no. 3 (2020): 362–72. http://dx.doi.org/10.22378/he.2020-5-3.362-372.

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Kazan Art School is a famous Russian educational institution that became an art educational center in the Volga-Kama Region and the Trans-Urals. In 2020, the school represented by N.I. Feshin Kazan Art College celebrates its 125th anniversary. It was opened under the direct tutelage of the Imperial Academy of Arts (1895) on the initiative of the Academy graduates, natives of the Kazan Region N.N. Belkovich, G.A. Medvedev, H.N. Skornyakov, I.A. Denisov, and Yu.I. Thyssen with the assistance of the city authorities. The historical walls of the school are marked by the teaching and pedagogical co

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7

Ignatyev, S. E., A. V. Ignatyeva, and T. V. Ganova. "COMPETITIONS IN DRAWING AND TECHNICAL DRAWING AT LOWER AND SECONDARY EDUCATIONAL INSTITUTIONS OF THE IMPERIAL ACADEMY OF ARTS (from the history of fine art teaching methods)." Научное мнение, no. 1-2 (2021): 54–65. http://dx.doi.org/10.25807/pbh.22224378.2021.1.2.54.65.

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8

Schull, Kent F. "Cpt. Robert Hofmann, Austrian Artillery Officer and Artist with the Ottomans in World War I." Archiv orientální 88, no. 3 (2021): 493–523. http://dx.doi.org/10.47979/aror.j.88.3.493-523.

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This article investigates the life, artwork, and experiences of Cpt. Robert Hofmann, an Austrian artillery officer and artist who fought with the Ottomans in the Levant from 1917 to 1919 during World War I and its immediate aftermath. His experiences and artwork provide powerful and vivid insight into the life, times, and situations of war in the Middle East. Unlike those of most of his European compatriots fighting with the Ottomans, his work and perspectives were from a distinctly non-Orientalist perspective as he sketched the flora and fauna, cityscapes, landscapes, and people he encountere

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9

Nikonova, Natalia Ye. "Vasily Zhukovsky and Friedrich Wilhelm von Schadow: Based on Materials From the Painter’s Unpublished Letters." Imagologiya i komparativistika, no. 14 (2020): 37–61. http://dx.doi.org/10.17223/24099554/14/2.

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The article presents, for the first time, an attempt to reconstruct the context and the object of creative contacts of Vasily Zhukovsky and Friedrich Wilhelm von Schadow (1788–1862), a theorist of painting and head of the Academy of Arts in Dusseldorf. The sources for the reconstruction were the previously unpublished eight letters by the German artist written in the period from 1838 to 1846 and now stored in the Manuscript Department of the Institute of Russian Literature and materials from the creative heritage of the Russian poet and artist. The article establishes new facts about the insti

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10

Iliina, Tatiana V., and Ekaterina Iu Staniukovich-Denisova. "Vivat, Academy of Fine Arts!" Vestnik of Saint Petersburg University. Arts 7, no. 1 (2017): 115–21. http://dx.doi.org/10.21638/11701/spbu15.2017.107.

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11

Chubakov, Anton V. "Traditions of Copying in the Imperial Academy of Arts." Observatory of Culture 14, no. 2 (2017): 192–97. http://dx.doi.org/10.25281/2072-3156-2017-14-2-192-197.

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12

Perkins, Etta L. "Nicholas I and the Academy of Fine Arts." Russian History 18, no. 1-4 (1991): 51–63. http://dx.doi.org/10.1163/187633191x00029.

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13

O'Connell, John Morgan. "Fine Art, Fine Music: Controlling Turkish Taste at the Fine Arts Academy in 1926." Yearbook for Traditional Music 32 (2000): 117. http://dx.doi.org/10.2307/3185245.

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14

Brewer, Mary. "Peter Pan and the White Imperial Imaginary." New Theatre Quarterly 23, no. 4 (2007): 387–92. http://dx.doi.org/10.1017/s0266464x07000309.

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To consider racial difference in terms of exclusion enables whiteness to retain its relative invisibility. Drawing upon the theoretical insights of critical whiteness studies, Mary Brewer examines J. M. Barrie's Peter Pan, exploring how the amorphous status granted to whiteness in the text lends it cultural authority. She aims to uncover how race and racism structure the play and to find ways of exploiting the gaps in its representation of white identity. These gaps potentially may be exploited in production – that is, made to operate against the grain and yield explicitly oppositional perform

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15

Stepanenkova, Valentina Mihajlovna. "Academy of Watercolor and Fine Arts of Sergey Andriyaka." Secreta Artis, no. 3 (November 20, 2020): 42–48. http://dx.doi.org/10.51236/2618-7140-2020-3-3-42-48.

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16

Azcue, Leticia. "Museum of the Royal Academy of Fine Arts in Madrid." Museum International 39, no. 3 (1987): 201–4. http://dx.doi.org/10.1111/j.1468-0033.1987.tb00693.x.

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17

Tatarinova, I. "Architectural models at the St Petersburg Academy of Fine Art." Journal of the History of Collections 18, no. 1 (2006): 27–39. http://dx.doi.org/10.1093/jhc/fhi033.

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18

Hagen, Bettina. "The Cast Collection at the Academy of Fine Arts in Vienna." Visual Resources 23, no. 1-2 (2007): 7–19. http://dx.doi.org/10.1080/01973760701219297.

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19

Pechenkin, Ilia. "The War and the Academy. Architectural Department of Higher Art School at the Imperial Academy of Arts, 1914–1918." Rossiiskaia istoriia, no. 6 (2019): 148. http://dx.doi.org/10.31857/s086956870007416-8.

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20

Zhao, Min. "The Building of the Database of Art Resources Research for Academy of Fine Arts." Applied Mechanics and Materials 644-650 (September 2014): 3057–60. http://dx.doi.org/10.4028/www.scientific.net/amm.644-650.3057.

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With the development of the society, the progress of The Times, academy of fine arts up a new step, also than before broad vision, digital library as the main direction of library construction, the research and construction level will be directly related to the status and role of library in the information age in our country, the construction of various databases will become one of the main content of the digital resources construction. This article from the art of fine arts thematic database resource database, trying to a library for the academy of fine arts, more convenient and practical per

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21

Levin, Aleksey E. "Expedient Catastrophe: A Reconsideration of the 1929 Crisis at the Soviet Academy of Science." Slavic Review 47, no. 2 (1988): 261–79. http://dx.doi.org/10.2307/2498467.

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The year 1929 was a watershed in the long history of the St. Petersburg Imperial, later Russian, and, finally, Soviet Academy of Sciences. In that year the leadership of the academy, its membership, and personnel were drastically and irreversibly changed. Even during the first postrevolutionary decade the academy retained semi-autonomy in its traditional capacity as a local scholarly body. The modern Soviet Academy of Sciences, however, is known to be a huge bureaucratic “empire of knowledge.” It is rigidly controlled by the party apparatus and regarded as an important instrument for the reali

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22

Weberg, Lorraine C., and Marietta Bushnell. "ART AND DESIGN SCHOOL TOL: Profile: Pennsylvania Academy of Fine Arts Library." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 3 (1987): 123. http://dx.doi.org/10.1086/adx.6.3.27947787.

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23

Andersson, Sven Ingvar. "Landscape architecture at the Royal Danish Academy of Fine Arts, Copenhagen, Denmark." Landscape and Urban Planning 30, no. 3 (1994): 169–77. http://dx.doi.org/10.1016/0169-2046(94)90056-6.

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24

Pomeroy, Mark. "The Archives of the Royal Academy of Arts, London." Art Libraries Journal 30, no. 1 (2005): 5–9. http://dx.doi.org/10.1017/s030747220001378x.

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The Academy is one of Britain’s foremost cultural institutions. It is a unique survival of the age of enlightenment, continuing to fulfil the purposes for which it was founded. The Academy is run by artists for the benefit of artists, while providing an elegant venue for ‘the promotion of the arts of design’. The Library of the Royal Academy of Arts is well known, as it is the oldest fine art library in the United Kingdom. The Archives has always lain in comparative shadow, even though it is close to the heart of the institution. This article attempts to place the Archives in context, to descr

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25

Glinternik, Eleonora M. "Exhibitions of the First Third of the 20th Century in the Imperial Academy Arts — Leningrad VHUTEIN." Actual Problems of Theory and History of Art 10 (2020): 436–47. http://dx.doi.org/10.18688/aa200-3-38.

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26

Wang, Shujing. "Art education in China in the XX century: national traits, international trends, and Russian influence (on the example of the Central Academy of Fine Arts)." Культура и искусство, no. 4 (April 2021): 54–65. http://dx.doi.org/10.7256/2454-0625.2021.4.35397.

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The Central Academy of Fine Arts is the only higher education institution of fine arts under the jurisdiction of the Ministry of Education of the People's Republic of China. The history of the National Art School in Beiping dates back to the establishment of the National School of Fine Arts in Beijing in 1918, which was supported by the prominent pedagogue of art and its first director Cai Yuanpei. It was the first national school in the history of China, laid the foundation for the modern Chinese education in the field of fine arts. This article is dedicated to the analysis of the key events

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27

Купчинська, Лариса. "Academy of Fine Arts Vienna and painters of Transcarpathia of the 19th Century." Artistic Culture. Topical Issues, no. 12 (November 19, 2016): 122–34. http://dx.doi.org/10.31500/1992-5514.12.2016.178898.

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28

Rebora, Carrie. "Sir Thomas Lawrence's "Benjamin West" for the American Academy of the Fine Arts." American Art Journal 21, no. 3 (1989): 18. http://dx.doi.org/10.2307/1594534.

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29

Shportko, Valery. "Review to the Anniversary of the National Academy of Fine Arts and Architecture." ART Space, no. 3 (2018): 40–44. http://dx.doi.org/10.28925/2519-4135.4.2018.3.8.

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On the basis of own memories and experiences, the author expresses deep respect to the lecturers and professors of Kyiv State Art Institute, now NAFAA, who he communicated with, gained knowledge and support during his study in 1968–1972. The author expresses his opinion and attitude to the deliberate discussion in some artistic circles on the alleged reorganization and failure of academic education in NAFAA, which closely influence development of art education in Ukraine in general.

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30

Pavella, Mania. "First Impressions of a Young Turk. Introductory Remarks to the Gelenbe 2015 Symposium." European Review 25, no. 2 (2017): 171–74. http://dx.doi.org/10.1017/s1062798716000521.

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These remarks constitute an introduction to this special issue and were made on 21 September 2015, at the opening of a special symposium honouring Professor Erol Gelenbe at Imperial College London, UK. Gelenbe is a Computer Scientist and Computer Engineer, who has been a Fellow of Academia Europaea since 2005. He is also a Fellow of the Royal Academy of Sciences, Arts and Letters of Belgium, as well as of the Science Academies of Hungary, Poland and Turkey, and of the National Academy of Technologies of France.

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31

Bolt, Barbara. "The Pleasure of Research, Helsinki: Finnish Academy of Fine Arts by Slager, H. (2012)." International Journal of Creative and Arts Studies 1, no. 2 (2017): 94–96. http://dx.doi.org/10.24821/ijcas.v1i2.2068.

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32

Eylem, Tataroğlu. "Differences in meta-aesthetic consciousness in students taking fine arts, design and academy education." Educational Research and Reviews 11, no. 11 (2016): 1043–55. http://dx.doi.org/10.5897/err2015.2615.

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33

Nelson, John. "Opposing Official Nationality." Experiment 25, no. 1 (2019): 115–29. http://dx.doi.org/10.1163/2211730x-12341333.

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Abstract It was political turmoil in Russia that brought Savva Mamontov and his Abramtsevo circle together with Nikolai Rimsky-Korsakov. The composer questioned whether the “Official Nationality” decree of Tsar Nicholas I, with its emphasis on autocracy, Orthodoxy, and nationality—which together asserted despotic rule—truly represented the values of a changing Russian society. In addition, his operas found little favor within the Imperial theater directorate. This changed, however, when the Imperial theater monopoly was abolished, allowing private theaters to operate freely. Mamontov opened hi

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34

Dianina, Katia. "Museum and Society in Imperial Russia: An Introduction." Slavic Review 67, no. 4 (2008): 907–11. http://dx.doi.org/10.1017/s0037677900018180.

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At the turn of the twentieth century, European critics who were distressed about contemporary developments in the fine arts tended to use medical, psychopathological terms to diagnose the existing state of the field. In 1892-1893, an Austrian physician and writer, Max Nordau, publishedEntartung(Degeneration). Drawing on positivist psychology and anthropometry, Nordau expressed his pessimistic views on the mental and physical health of the leading figures of European fin-de-siécle culture: Friedrich Nietzsche, Paul Verlaine, the impressionists, the symbolists, and many others. In Russia this bo

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35

Suboticki, Ivana. "About the Cover Artist." Nordic Journal of Science and Technology Studies 4, no. 2 (2016): 56. http://dx.doi.org/10.5324/njsts.v4i2.2186.

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36

Pylypenko, Ivan. "THE HISTORY OF ART WORKSHOP AND TEMPLE CULTURE OF THE NATIONAL ACADEMY OF FINE ARTS AND ARCHITECTURE." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 136–41. http://dx.doi.org/10.33838/naoma.28.2019.136-141.

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This article is dedicated to the studio of fine arts and temple culture in the context of the history of the National Academy of Fine Arts and Architecture. Analyzed was the educational program of the studio’s founder,M. Storozhenko. Discovered were the methodological analogies between the studio of monumental painting and templar culture of NAFAA, M. Boychuck’s art workshop and the icon-painting studio of the Kyiv Pechersk Lavra. It was proved that an analysis of historical experience can be useful in the educational process and in the upbringing of the modern painters of sacred (religious) a

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37

Blakesley, Rosalind P. "An Unexpected Role Reversal." Experiment 23, no. 1 (2017): 93–103. http://dx.doi.org/10.1163/2211730x-12341303.

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Abstract In 1862, the collector Pavel Tretyakov made his second visit to Britain, and lent three paintings to the International Exhibition held in London that year. Then aged just thirty, he had bought his first Russian paintings just six years previously, yet his collection was already of sufficient calibre for the Imperial Academy of Arts in St. Petersburg to desire works from it for the Russian submission to the London event. Moreover, the genre paintings which Tretyakov lent added spice to what was otherwise a rather routine academic display. In this respect, Tretyakov’s contribution to th

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38

Andreev, Alex Alexeevich, and Anton Petrovich Ostroushko. "Ilya Vasilyevich BUYALSKY – Russian anatomist and surgeon, academician of the Imperial Academy of arts (to the 230th of birthday)." Journal of Experimental and Clinical Surgery 12, no. 2 (2019): 150. http://dx.doi.org/10.18499/2070-478x-2019-12-2-150-150.

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Ilya Vasilyevich was born in 1789, from eight years he studied first at the county school, then at the Chernigov seminary. In 1809, I.V. Buyalsky entered the Medical-Surgical Academy, after which he worked as an anatomy prosector, engaged in surgical activities, including issues of surgery of the blood vessels. In 1822, Buyalsky developed a spatula, in 1827–1830 - a turnstile, named after him. In 1823 he defended his thesis on the topic: "On the pathology and therapy of aneurysms." In 1824, Buyalsky wrote The Guide to Doctors for the Correct Examination of Dead Human Bodies for Recognition of

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39

Larsen, Olga Popovic. "Reciprocal Frames Workshops at the Royal Danish Academy of Fine Arts School of Architecture in Copenhagen." International Journal of Space Structures 26, no. 4 (2011): 365–67. http://dx.doi.org/10.1260/0266-3511.26.4.365.

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40

Aambø, Marthe. "The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation https://kadk.dk/konservatorskolen." Journal of Paper Conservation 17, no. 3-4 (2016): 129. http://dx.doi.org/10.1080/18680860.2016.1284830.

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41

Walls, Jeff. "Meltdown at the Academy of Fine Arts: The Role of Teachers’ Emotional Sensemaking in Planned Change." Journal of Cases in Educational Leadership 24, no. 3 (2021): 75–86. http://dx.doi.org/10.1177/1555458921992399.

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Schools are characterized by nearly constant internal and external demands to change, grow, and improve. Past research has found that the way educators “make sense” of what they are being asked to do bears on the effectiveness of reforms and the way changes are implemented in practice. Much of this past work takes a cognitive approach to sensemaking, but teachers’ emotional responses also considerably shape how they make sense of novel situations. This teaching case explores the leadership challenges associated with a planned change initiative at a small arts-focused school, and the way that t

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42

Siemiński, Przemysław. "Industrial technologies at Faculty of Design, Academy of Fine Art in Warsaw – teaching with 3D printing." Mechanik 91, no. 1 (2018): 50–52. http://dx.doi.org/10.17814/mechanik.2018.1.10.

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The teaching of industrial technologies at the Faculty of Design, Academy of Fine Arts in Warsaw, Poland was described. The using of additive manufacturing for the prototyping of various products, including foundry models and core boxes for the preparation of sand molds, was shown.

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43

Lisovskiy, V. G., and Yu V. Pukharenko. "National romanticism of the early XX century in the two higher schools of architecture in Saint Petersburg." Вестник гражданских инженеров 17, no. 6 (2020): 13–24. http://dx.doi.org/10.23968/1999-5571-2020-17-6-13-24.

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The article regards one of the aspects of the large theme associated with the study of romanticism in the Russian architecture of the end of the XIX - early XX centuries. The authors focus on the «national» branch of the romanticism trend in architecture embodied in two versions known as «Neo-Russian style» and «Northern Art-Nouveaux». As a result of study of some relevant publications and archive materials, it has been figured out to what extent these versions were used in the architectural study practice at the Academy of Fine Arts and at the Institute of Civil Engineers. It is shown, that a

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44

Robinson, Anne. "Penelope Spencer (1901–93) Dancer and Choreographer: A Chronicle." Dance Research 28, no. 1 (2010): 36–89. http://dx.doi.org/10.3366/drs.2010.0004.

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The career of the English dancer, choreographer, teacher and dance writer, Penelope Spencer (1901–93), primarily spanned the twenty-year period between the First and Second World Wars (1919–39). Spencer's versatile dance training and career encompassed diverse British theatre genres of the period, including ballet, drama, mime, modern dance, musical comedy, opera, pantomime and revue. It was common practice during the inter-war period for English dancers to disguise their British origins by ‘Russianising’ their names. Spencer, however, maintained her English name throughout her career. She pra

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45

Mikheeva, G. V. "Department of fi ne arts and technology in the Imperial Public Library (1850–1930)." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 163–71. http://dx.doi.org/10.30725/2619-0303-2020-3-163-171.

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A new stage in the life of the Imperial Public Library (now the National Library of Russia) began in 1850, when M. A. Korf, who carried out the organizational restructuring of the Library, became its director for many years and determined the order of its activities. The Library began to function on the principle of separate departments. From the largest meetings in various specialties, the departments turned into stable administrative units. For the fi rst time, the history of the Department of Fine Arts and Technology, containing unique collections of prints, lithographs, notes, and others,

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46

Anfinsen, Martin. "About the cover artist." Nordic Journal of Science and Technology Studies 8, no. 1 (2020): 34. http://dx.doi.org/10.5324/njsts.v8i1.3587.

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Setsuko Kurioka studied at the Trondheim Academy of Fine Art and later worked from Lademoen Kunstnerverksted. The artist is now based in Asker, near Oslo, where she has her studio. Currently, Kurioka works on a grant from Arts Council Norway, and her pieces has been featured multiple times in the annual Autumn Exhibit. Her work has also recently been acquired by the National Museum of Decorative Arts.

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47

Navascués, Pedro. "The Protagonists of the “Antigüedades Árabes de España” and the San Fernando Royal Academy of Fine Arts in Madrid." Art in Translation 11, no. 2 (2019): 124–47. http://dx.doi.org/10.1080/17561310.2019.1690292.

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48

Jian, Zhao. "The Approach of Guangzhou Academy of Fine Arts: Design education based on regional traditions and cultural diversity." Iridescent 1, no. 2 (2011): 112–17. http://dx.doi.org/10.1080/19235003.2011.11428496.

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49

Reed, Marcia. "THE ANNUAL EXHIBITION RECORD OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS 1876-1913. Peter Hastings Falk." Art Documentation: Journal of the Art Libraries Society of North America 9, no. 1 (1990): 35–36. http://dx.doi.org/10.1086/adx.9.1.27948191.

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50

Leigh, Allison. "Vasilii Maksimov: Individuality and Collectivism in Pëtr Krestonostsev’s Artel of Artists." Russian History 46, no. 4 (2019): 262–75. http://dx.doi.org/10.1163/18763316-04604005.

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Abstract This essay explores the circumstances which led the Russian painter Vasilii Maksimov to compose an unusual group portrait in the early months of 1864. The work was painted shortly after fourteen students withdrew from the Imperial Academy of Arts in St. Petersburg and formed a cooperative association known as the St. Petersburg Artel of Artists, a commune spearheaded by the painter Ivan Kramskoi. Shortly after these events, Maksimov would join an Artel of artists established by the Academy graduate Pёtr Krestonostsev. Few scholars discuss this Artel but exploring the ways it mirrored

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