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1
Blakesley, Rosalind P. "Art, Nationhood, and Display: Zinaida Volkonskaia and Russia's Quest for a National Museum of Art." Slavic Review 67, no. 4 (2008): 912–33. http://dx.doi.org/10.2307/27653031.
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In 1831, the journal Teleskop published Princess Zinaida Volkonskaia's proposal for a national art museum in Moscow. Volkonskaia's project was progressive to a degree (Russia had no such museum at the time), yet the model she proposed was highly traditional. She excluded Russian art entirely, despite her support of modern Russian artists. Instead, Volkonskaia privileged classical and more recent western European art, underlining the deference to western practice that influenced cultural politics even as Russia moved toward a stronger national sense of self. Volkonskaia's project marks an important juncture in Russia's cultural history: the intersection of aristocratic female patronage and the institutionalization of academic procedure. It also provides a platform from which to consider Russia's self-image vis-à-vis Europe in the aftermath of the Napoleonic campaigns. By tracing an intricate dialogue in which national pride developed alongside continuing admiration for neoclassical ideals, Rosalind P. Blakesley addresses the paradoxes of Volkonskaia's project, and the difficulties of conceptualizing a “national” space of artistic display. Volkonskaia's project poses significant interpretive problems and her exclusion of Russian art prefigures the segregation of Russian and western art in Russian museums today, which has marginalized Russian art even within Russia itself. Volkonskaia's project thus has wide resonance, for the question of whether and how museums encapsulate national cultural identities remains an issue of great intellectual concern.
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Kharitonova, Natalya Stepanovna. "Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 97–104. http://dx.doi.org/10.17816/vgik7297-104.
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The author examines similarity of historical and cultural development of Russia and Scandinavian countries. Cultural ties between the two domains evolved over many centuries. The most intensive period of development of Russian-Scandinavian artistic contacts stretched from mid-1880s-1890s up to the end of the first decade of the 20th century. In 1890s Russian painters considered achievements of Scandinavian colleagues as an example of a quest for progress, a creative approach to finding ones way in development of fine arts. At the same period in Russia a number of major international art exhibitions were arranged with active northern painters participation. The Russian interest in the art of Scandinavian countries in the late 19th - early 20th c. was anything but accidental. The development of artistic culture in Nordic countries was in tune with the Russian artists quest for other ways of creative expression. Northern culture attracted sympathy of Russian painters, black-and-white artists and art critics of diverse, often opposing groups and movements. For example, among the admirers of Scandinavian fine arts were V.V. Stasov and A.N. Benoit, I.E. Repin, V.A. Serov, F.A.Malyavin, the artists of the "Mir iskusstva group, and representatives of Moscow School of Painting (K. Korovin, A. Arkhipov, V. Perepletchikov etc.). By mid-1890s relations of Russian and Scandinavian art schools had become very intense and productive. This interaction coincided with significant events that influenced further development of artistic and other forms of culture on both sides. It manifested itself in publications of works of A. Strinberg and K. Hamsun in Russian, in staging of H. Ibsens plays at the Moscow Art Theater, exhibitions (especially of A.Tsorns works), and other activities that served to cross-fertilisation of cultures of Russia and Scandinavian countries.
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Pipes, Richard. "Russia's Itinerant Painters." Russian History 38, no. 3 (2011): 315–427. http://dx.doi.org/10.1163/187633111x579819.
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AbstractVisual arts in Russia languished through most of her history, partly because the Orthodox Church frowned on pictorial representation, partly because there was virtually no middle class to purchase paintings. In the mid-eighteenth century Russia acquired an Academy of Arts which produced works largely in classical style and content. This changed in the 1870's when, under western influence, a group of Russian artists formed a society of "Itinerants" committed to painting in the realistic mode and to exhibit their works in various cities of the Empire rather than solely in the capital cities of St. Petersburg and Moscow, as had been the custom until then. Their canvasses depicted everyday life in Russia as well as historical scenes; they also painted portraits of contemporaries. This special issue deals with the lives and work of nine leading Itinerant painters. The movement gradually lost popularity toward the beginning of the twentieth century as Impressionism and Abstract art replaced it, but it revived in the Soviet period. Today it is greatly favored by the Russian public which swarms the Tretyakov Gallery in Moscow, the largest collection of Itinerant art.
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Pogosova, Nana, Rafael Oganov, Hugo Saner, Sergey Suvorov, and Olga Sokolova. "Potential and limitations of health policy to improve coronary heart disease prevention and to reduce the burden of disease: A Russian experience." European Journal of Preventive Cardiology 25, no. 16 (April 11, 2018): 1725–34. http://dx.doi.org/10.1177/2047487318768030.
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Background Mortality from cardiovascular diseases is particularly high in Russia compared with the European average. The National Priority Project ‘Health’, launched in 2005, aimed to promote prevention of non-communicable diseases, particularly cardiovascular diseases, in primary care and to increase availability of state-of-art cardiovascular disease management. Methods This is a multiregional population based study with analysis of indicators for cardiovascular health and coronary heart disease in Moscow, St Petersburg, the Moscow region and across Russia, including a total population of 143.7 million inhabitants between 2005 and 2013. Data were collected using conventional methodology and originate from open statistical sources. Results The overall age-standardized coronary heart disease mortality decreased in 2005–2013 by 24.7% from 383.6 to 289.0 per 100000 population, but with substantial interregional differences: it declined from 306.1 to 196.9 per 100,000 in Moscow (–35.7%), from 362.1 to 258.9 per 100,000 in St Petersburg (–28.5%) and from 433.8 to 374.3 per 100,000 in the Moscow region (–13.7%). Income in Moscow exceeded the national average 2–3-fold, and Moscow had the highest availability of modern treatments and interventions. Although vegetables, fruits and fish consumption increased overall in Russia, this trend was most prominent in Moscow. Indicators for psychosocial well-being also were best in Moscow. Life expectancy in Moscow is almost six years higher than the Russian average. Conclusion Health policy interventions turned out to be successful but with substantial interregional differences. Lower coronary heart disease mortality and higher life expectancy in Moscow may be due to a more favourable socioeconomic and psychological environment, more healthy eating and greater availability of medical care.
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Shkurko, Alla. "Medallic Art in Russia XVIII c." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 80–99. http://dx.doi.org/10.36340/2071-6818-2020-16-1-80-99.
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Summary: The article is dedicated to the history of medalic art of Russia since the time of its appearance at the boundary 17–18 cc. and its further developing as a definite kind of art in the course of the century. In 1701 a new Mint began its work in Moscow in Kadashev sloboda. For some period of time it was the main Mint issuing coins and medals. Among the engravers working there the first place belongs to Fedor Alekseev who was the leading medalist since 1701. Afterwards the leading initiative was given to foreign masters who had come to work for Russia. The first foreign medalists working on Russian services were Frenchman Solomon Gouin and Saxon G. Haupt. During the whole part of the first quarter of 18 c. Russian medalic works were signed by foreign craftsmen. The series of medals in memory of the North war performed by the German medalist Ph.G. Mueller and left a noticeable trace in the development of Russian medalic art. Medals of the first quarter of 18 c. reflected the successful events of Russia in the North war most fully but very few medals were devoted to the home life of the country. Medals of the first quarter of 18 c. served as the firm foundation for further development of the Russian medalic art. In 30–40s years the leading place at the Russian Mints was occupied by foreign medalists. Chief medalist was Dane Anton Shultz who was engaged not only in cutting dies but also taught Russian masters. The main service of I.G. Waechter rendered to the Russian medalic art consists in the further widening of artistic possibilities of medals. Virtuosity of ability to use technique, the accuracy in the gradation of the relief, fine feeling of light and shade allowed the artist to create such pictorial relief that is always connected with his name in the Russian medalic art. Together with the artists already spoken about, Russian masters work professionally too. The creative work of two medalists Tymophey Ivanov and Samoilo Yudin is very important. The circle of Russian medalists of 18 c. is completed by Karl Leberecht. By his creative work he realized the transition to a new period of medalic art – classicism. In the first half of the 18 c. medals immortalized a small number of important events and ruling monarchs, but in the second half of the century the medallic art began to aspire to reflect the events in many fields of historical life of Russia much wider. This tendency became stronger in the 19 c. when medals issue increased.
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Vikulova, Vera P. "First Museum in Russia Devoted to N. Gogol Opened in Moscow." Bibliotekovedenie [Russian Journal of Library Science], no. 3 (May 25, 2009): 12–14. http://dx.doi.org/10.25281/0869-608x-2009-0-3-12-14.
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One of main events of the jubilee year was the opening of Gogol’s Museum, first in Russia. Museum holds authentic historical objects and works of art as well as things belonging to Gogol. Museum Collection counts over thousand and a half items and contains unique collections of art materials, rare books and documents, staff and photo materials. Official opening of the museum was held on March 27, 2009.
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Волкова, Ульяна Михайловна. "Moscow in the Russian medallic art." Искусство Евразии, no. 2(17) (June 27, 2020): 116–25. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.007.
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В статье рассматриваются медали, созданные в Российской империи в XVIII – начале XX века, с изображением города Москвы. В течение XVIII века была отчеканена всего одна медаль с таким изображением – на основание Московского университета. Все памятники XIX – начала XX века с изображением древней столицы можно разделить на три типа – это виды Кремля, различные сооружения и персонифицированный образ города. Персонификация Москвы – самый увлекательный медальный образ старой столицы. С этой аллегорией существует всего три медали. Первая персонификация Москвы была показана на медали, посвященной Отечественной войне 1812 года – «Освобождение Москвы», отчеканенной в 1834 году и принадлежащей к серии графа Ф.П. Толстого. Одеяние аллегорического персонажа соответствует русской моде начала XIX века и включает стилизованный сарафан и кокошник. На примере трех проанализированных медалей с изображением персонификаций Москвы автор прослеживает основные изменения, произошедшие в отечественном медальерном искусстве – от первых попыток включить элементы традиционной культуры в европейское по своей сути искусство до композиций, созданных на основе исторических источников и научных трудов. The article deals with the images of Moscow in the Russian medallic art of the 18th – beginning of the 20th century. Only one medal with the view of Moscow Kremlin was struck during 18th century. It was a medal dedicated to the inauguration of the Moscow University in 1754 by Helvetian medallieur Jacques-Antoine Dassier. During 19th – beginning of the 20th century, there were three types of the images of Moscow on the Russian medals. Moscow Kremlin, some landmark buildings or personification of the town are the main images depicted on the medals. Personification of Moscow is the most fascinating medallic image of the old capital. There were only three medals with this allegory. First personification of Moscow was shown on a medal dedicated to the Patriotic war of 1812 – “Liberation of Moscow” belonging to the series of count F.P. Tolstoy, minted in 1834. Allegory was dressed according to the Russian fashion of the beginning of the 19th century. And wore stylized sarafan (Russian folk costume) and kokoshnik (traditional Russian headdress). Two other personification were depicted after the first one.
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Senelick, Laurence. "The Accidental Evolution of the Moscow Art Theatre Prague Group." New Theatre Quarterly 30, no. 2 (May 2014): 154–67. http://dx.doi.org/10.1017/s0266464x14000268.
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During the period of confusion and divided loyalties that followed the 1917 Revolution in Russia, the resources of the Moscow Art Theatre were severely depleted, and its artists and staff found themselves giving barebones performances for the enlightenment of often mystified working-class audiences. By 1919 the decision was taken to split the company, with a contingent sent out on tour with the intention of rejoining the parent group for the new season. In the event, with civil war raging between the forces of the Red Army and the White Guard, this did not happen, and groups of former members of the Art Theatre worked independently in the provinces and eventually abroad. While some returned to Moscow in 1922, the ‘Prague Group of the Moscow Art Theatre’ continued to lead an independent existence, and in this article Laurence Senelick traces the events leading up to and following its creation – which caused much annoyance to Stanislavsky and confusion in the West. A frequent contributor to New Theatre Quarterly, Laurence Senelick is Fletcher Professor of Drama and Oratory at Tufts University and a Fellow of the American Academy of Arts and Sciences. He is a recipient of the St George medal of the Ministry of Culture of the Russian Federation for services to Russian art and scholarship. His latest books are Stanislavsky: a Life in Letters (Routledge) and the forthcoming Soviet Theatre: a Documentary History (Yale University Press).
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Rychkova, Ekaterina А. "THE HANDICRAFTS MUSEUM AS AN ACTUAL FORM OF MUSEUM ACTIVITY IN THE SECOND HALF OF THE XIX - THE FIRST THIRD OF THE XX CENTURIES (ON THE EXAMPLE OF THE MOSCOW HANDICRAFTS MUSEUM)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 273–78. http://dx.doi.org/10.17223/22220836/40/25.
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The development of folk crafts in Russia was closely connected with the formation of handicrafts museums that performed complex tasks of preserving, studying and promoting folk art. The study of their history today is one of the problems that have not yet been sufficiently studied in museology. Handicrafts museums were considered by researchers primarily in the general historical context of the influence of state policy and provincial zemstvos on the development of handicraft industry in Russia. However, the phenomenon of handicrafts museums remains insufficiently studied from the point of view of history and the theory of museum work. The type of the handicrafts museum has not yet been singled out as an actual form of the museum institution of the last quarter of the XIX – the first third of the XX centuries, which spread in several provinces of the Russian Empire. The purpose of the article is to review the main activities of the Moscow Handicrafts Museum - an example of the formation of new types of museums in Russia and their influence on the development of folk crafts in the second half of the 19th century – the first third of the 20th centuries. Moscow Handicrafts Museum opened in 1885. His task was to fully promote the development of folk art and the implementation of handicrafts. One of the main features and goals of creating the Handicrafts Museums in the Russian Empire was the formation of an established system of state patronage over the peasants who were freed from serfdom and promotion of their involvement in the new sector of the economy. The museum staff formed the museum collection, actively participated in organizing the training of folk craftsmen, arranging production workshops, became intermediaries in the art market, and was engaged in active exhibition work around the world, especially at large industrial fairs. In the 1890–1910s, the case started in Moscow spread quickly to almost the whole country. Handicrafts museums immediately arose in several provinces of Russia. One of the program documents of that period was the concept of the development of the Handicrafts Museum, proposed in a report of Sergey Morozov in 1910. Thus, at the beginning of the twentieth century in Moscow, the structure of an effective museum was formed, aimed at systematic work with folk crafts and successfully involving a wide range of partners: artists and scientists, merchants and foreign industrialists. Thanks to the assistance of handicrafts museums in Russia in the late XIX – early XX centuries traditional folk crafts were able to survive and be adequately represented throughout the world. The aesthetic significance of folk art has been recognized. The study of folk art has become an important subject of scientific research. All aspects of the multifaceted history of the formation and development of handicrafts museums and their role in the socio-economic and cultural development of Russia are of great scientific interest and require careful further study.
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Häßler, Miriam. "Moscow Merz and Russian Rhythm." Experiment 23, no. 1 (October 11, 2017): 117–26. http://dx.doi.org/10.1163/2211730x-12341305.
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Abstract The Erste Russische Kunstausstellung [First Russian Art Exhibition] of 1922 was a remarkable event not only for Berlin’s art lovers at that time, but also for the history of twentieth century art. Held at Galerie van Diemen, the show gave a comprehensive overview of Russia’s artistic achievements from late Tsardom to the Russian Civil War. Of all styles in the exhibition, the non-objective art movements of suprematism and constructivism provoked the greatest sensation among the visitors, many of whom were Western artists. Relating Russia’s variations of non-objectivity with their—assumed—political notions, Western modernists reacted in various ways. This article aims at tracking the long-lasting vestiges of the Erste Russische Kunstausstellung in the personal and artistic developments of two key-figures of Germany’s modern art scene: Kurt Schwitters and Hans Richter. While the role of El Lissitzky, who designed the catalogue’s cover, has already been canonized, this article wants to highlight lesser-regarded aspects.
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Lynch, Julie. "Innovative Costume of the 21st Century: The Next Generation, Dmitry Rodionov, curated by A.A. Bakhrushin Museum." Studies in Costume & Performance 6, no. 1 (June 1, 2021): 123–29. http://dx.doi.org/10.1386/scp_00040_5.
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Innovative Costume of the 21st Century: The Next Generation, Dmitry Rodionov, curated by A.A. Bakhrushin MuseumState Historical Museum, A.A. Bakhrushin State Central Theatre Museum, Center for Contemporary Art MARS Moscow, Russia, 17 June‐2 October 2019
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Petrović, Predrag. "Two Serbian Тravelogues about Soviet Russia." Stephanos Peer reviewed multilanguage scientific journal 45, no. 1 (January 31, 2021): 7–15. http://dx.doi.org/10.24249/2309-9917-2021-45-1-7-15.
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The paper presents two Serbian travelogues published in 1928 in Belgrade: Impressions from Russia (Утисци из Русије), by the writer Dragiša Vasic and Impressions from Russia (Импресије из Русије) by the sculptor Sreten Stojanovic. On the occasion of marking the tenth anniversary of the October Revolution, Vasic and Stojanovic, as journalists, had the opportunity to spend two months in Moscow and Leningrad. Driven by great respect and love for Russian culture, they wanted to acquaint the Serbian public with the social, political and cultural life in the new state. Both travelogues emphasize the image of Soviet society in which there are still conflicts between traditional and new values that are gradually but surely being established. The authors pay great attention to the Russian art of that time, primarily to the theater. Both travelogues are important literary and documentary evidence of the image of Soviet Russia that was formed in the Serbian cultural public in the period between the two world wars.
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Osetrova, M. E. "The Situation with South Korean Literature in Russia as a Marker of the Current State of Intercultural Communication." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 178–80. http://dx.doi.org/10.24833/2541-8831-2020-4-16-178-180.
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Modern literature – both as book industry and as an art – is a sphere that reflects general cultural and intercultural trends. Mutual interest and understanding between Moscow and Seoul, the Russians and the Koreans manifests itself in such cultural derivatives – in works of art, in translated books in particular. The Yasnaya Polyana literary prize awarded November 23, 2020, in Moscow once again brought into light the novel of a South Korean writer Han Kang, The Vegetarian, that, at the same time, received less attention than other foreign works. What is therefore observed is that, in the wider milieu of foreign literatures, the South Korean achieves modest success in Russia and vice versa. With many prominent authors and their works translated, market success and wide publicity of Korean authors and books is what is lacking at the current stage of cultural interactions. This could be caused by the genre specificities of contemporary South Korean literature, as dramatism and realism of everyday problems feature prominently in novels and other works. Historical tragedies and the difficult life of Korean society are unlikely to be the details inciting wide public interest in Russia. What also imperils the cultural dialogue in this field is the unsystematic choice of texts to be published abroad and translated, which can be attributed to Russian editorial houses. This concern is the major obstacle to promoting both Russian and Korean cultures. Consequently, the development of intercultural bonds between Russia and South Korea is to a certain degree hindered by mutual stereotypes and standard patterns.
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Osetrova, M. E. "The Situation with South Korean Literature in Russia as a Marker of the Current State of Intercultural Communication." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 178–80. http://dx.doi.org/10.24833/2541-8831-2020-4-16-178-180.
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Modern literature – both as book industry and as an art – is a sphere that reflects general cultural and intercultural trends. Mutual interest and understanding between Moscow and Seoul, the Russians and the Koreans manifests itself in such cultural derivatives – in works of art, in translated books in particular. The Yasnaya Polyana literary prize awarded November 23, 2020, in Moscow once again brought into light the novel of a South Korean writer Han Kang, The Vegetarian, that, at the same time, received less attention than other foreign works. What is therefore observed is that, in the wider milieu of foreign literatures, the South Korean achieves modest success in Russia and vice versa. With many prominent authors and their works translated, market success and wide publicity of Korean authors and books is what is lacking at the current stage of cultural interactions. This could be caused by the genre specificities of contemporary South Korean literature, as dramatism and realism of everyday problems feature prominently in novels and other works. Historical tragedies and the difficult life of Korean society are unlikely to be the details inciting wide public interest in Russia. What also imperils the cultural dialogue in this field is the unsystematic choice of texts to be published abroad and translated, which can be attributed to Russian editorial houses. This concern is the major obstacle to promoting both Russian and Korean cultures. Consequently, the development of intercultural bonds between Russia and South Korea is to a certain degree hindered by mutual stereotypes and standard patterns.
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Krasovec, Alexandra. "Neue Slowenische Kunst and its links with Russia." Russian-Slovenian relations in the twentieth century, no. IV (2018): 319–37. http://dx.doi.org/10.31168/2618-8562.2018.4.3.8.
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This article examines the activities of the artistic collective Neue Slowenische Kunst, which arose in 1984 in Slovenia, at that time one of the republics of Yugoslavia. NSK gained international fame largely due to the political component of its art, aimed at the formation of an alternative civil society. One of the key components of the group’s creativity is the reference to the heritage of the Russian avant-garde (to such names as K. Malevich, A. Kruchenykh, V. Khlebnikov, V. Tatlin, V. Meyerhold, M. Larionov, N. Goncharova, etc.) and creative events held in Russia (the NSK Embassy in Moscow in 1992, performances in Star City in 1991 and 2005).
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Khokhlova, E. S. "Library of Cinema Art named after S. Eisenstein." Bibliotekovedenie [Library and Information Science (Russia)], no. 6 (December 28, 2014): 94–99. http://dx.doi.org/10.25281/0869-608x-2014-0-6-94-99.
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The article highlights history, goals and objectives of the Library of Cinema Art named after S. Eisenstein, opened in 2008, the first in Moscow and in Russia specialized public library for cinema art, which was formed on the basis of library of cinematographers, dating from 1934. Over the past six years the Library of cinema art named after S. Eisenstein became a modern multifunctional center, playing an important role in the cultural life of the city.
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Bradley, Joseph. "Pictures at an Exhibition: Science, Patriotism, and Civil Society in Imperial Russia." Slavic Review 67, no. 4 (2008): 934–66. http://dx.doi.org/10.2307/27653032.
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Organized by a Moscow learned society, the Polytechnical Exposition of 1872 helped mobilize resources for popularizing science that connected tsarist officialdom, the Moscow municipal government and business community, university scientists, and other private associations. Although the relationship between the autocratic government and society is often portrayed in terms of conflict, partnership was more typically the rule, especially in the effort to build a native science infrastructure. The grand exhibitions of science and industry of the nineteenth century were sites of modernity that displayed visions of progress, created a public culture, and fashioned national identity. Moscow's Polytechnical Exposition juxtaposed the modern and the foreign with the traditional and the Russian in order to demonstrate that Russia could have modern science and technology without abandoning its traditional culture. Paradoxically, to assert its place in European civilization in an age of nationalism and imperialism, Russia had to assert its Russianness—its cultural distinctiveness, patriotism, and imperial pride. With its emphasis on change and progress, as well as on traditional Russian culture, the exposition fostered a Russian public aware of its place in a changing world, of its place in history, of its identity as a nation.
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Brintlinger, Angela. "Fiction as Mapmaking: Moscow as Ivan Bunin's Russian Memory Palace." Slavic Review 73, no. 01 (2014): 36–61. http://dx.doi.org/10.5612/slavicreview.73.1.0036.
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In his fiction written from the 1920s through 1940s Ivan Bunin set a number of stories in Moscow, naming specific places, many of which were closed or destroyed after the 1917 Revolution by the Soviet regime or by Nazi bombing during World War II. In so doing, Bunin used Moscow to map the cultural memory of the Russian emigration, with the ancient city of Moscow standing as its “memory palace” while contributing to the “Moscow text.“ In his 1944 story “Cleansing Monday,” in particular, Bunin conducted this mnemonic project on three levels: historical, spiritual, and didactic. He did so for both a Russian readership—his compatriots abroad and potential (future) readers back home—and a foreign audience increasingly interested in Russia. Through close reading of the story, diary entries, and Bunin's biography, this article explores the idea of a memory palace and four specific memory images, comparing Bunin's depiction of Russia to a 1915 depiction by English traveler Stephen Graham.
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Yulia, Sytina. "RUSSIA AND EUROPE AS A SUBJECT OF THE DISPUTE BETWEEN THE AUTHORS OF "MOSCOW OBSERVER"." Проблемы исторической поэтики 14 (November 2016): 172–84. http://dx.doi.org/10.15393/j9.art.2016.3602.
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DUKOV, YEVGENY V., and VIOLETTA D. EVALLYO. "ARTS AND MACHINE CIVILIZATION INTERNATIONAL SCIENTIFIC CONFERENCE." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 11–32. http://dx.doi.org/10.30628/1994-9529-2021-17.2-11-32.
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The text reviews the Arts and Machine Civilization International Scientific Conference. The conference took place on March 30—April 2, 2021, and was organized by the State Institute for Art Studies, GITR Film and Television School, and the Saint Petersburg State University. SIAS has been hosting conferences on contemporary culture, screen art and television for 17 years. This year, for the first time in the history of such forums, the researchers were tasked with analyzing the new things that machines have brought to the arts and, in general, to human life. The conference took its special place among the forums held over the past year in Russia and abroad in the following areas: artificial intelligence (Artificial Intelligence Journey, Moscow,Russia); machine learning (International Conferenceon Machine Learning, Vienna, Austria; 3rd International Conference on Machine Learning and Machine Intelligence, Hangzhou, China); civilization of knowledge (Civilization of Knowledge: Russian Realities, Moscow, Russia), etc. The novelty of the conference lies in the unification of the seemingly incompatible phenomena: art and machine civilization. As is commonly known, art was traditionally opposed to technology as something alien, sometimes hostile, although the both were born in human mind and created by human hands. Until now, the expression “machine civilization” in art has been used mainly in the genre of fantasy and with an emphasis on its negative connotations. The purpose of the conference was to comprehend the artistic practices in the era of machine civilization, get acquainted with current hypotheses, publish new facts and discuss modern terminologies (law of spontaneity, law of semantic uncertainty, algorithmic apophenia, post-opera, artificial life and new vitality). Along with the study of new challenges, old issues were raised, which became in demand in the machine civilization: originals and copies of artworks, the boundaries of conventionality and overcoming distrust in new media, narratives and poetics in serious and entertaining screen genres. The conference reports were divided into six blocks: Theoretical Models, ScreenArts—Cinema, Fine Arts, Music, PC Games, and Digitalization.
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Semergeev, Valery B., and Gennady K. Afanasiev. "TRADITIONS OF BALALAIKA ART IN OREL." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 197–202. http://dx.doi.org/10.17223/22220836/39/18.
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The role of a musical instrument in the development, preservation and revival of the native cul-ture, in the establishment of esthetic consciousness of multinational Russia’s peoples is difficult to overestimate. Balalaika has won the audience’s hearts, and today it is difficult to find balalaika admirers who are not familiar with performances of accomplished balalaika players – People’s Artist of the USSR, the laureate of state prize, Professor P.I. Necheporenco, People’s Artist of Russia, Pro-fessor E.G. Blinov, and their many students and followers. Orel is home of one of the oldest educational institutions in Russia – Orel Musical College, which, according to the archive documents of Orel and St. Petersburg, was founded in 1877. The good name of the College is supported by its today’s students and teachers. It is here where Orel’s balalaika education was established and developed. In August 1953, on the initiative of the Main Department for Arts of the Ministry of Culture of the Russian Federation, the graduate of the Department of String Musical Instruments of Oktyabrskaya Revolutsiya Music College (now “A.Schnittke Moscow State Institute of Music”) Vera Ivanovna Max-imova came to Orel. It was V.I. Maximova who took charge of creating the string folk music instru-ments class. She also taught domra and balalaika class and was the head of the folk music instruments orchestra of the College. She traveled a lot seeking out young talents in the districts of the Region. Lukonina Lubov Ivanovna, a famous teacher in Orel, combines her work in the ensemble “Or-lovski Suvenir” (“Orel Souvenir”) with educating younger generation of musicians and teachers of Orel. Following their teacher’s traditions, L.I. Lukonina’s students participate in various contests and become laureates. The graduate of Orel Music College, Nadezhda Mikhailovna Kovaleva carries on the work of A.V. Dorofeev and V.I. Maximova. In 1969 she enters the Tambov Branch of Moscow Institute of Culture. For family reasons she interrupts her studies and continues her education at the Orel Branch of Moscow Institute of Culture (now Orel State Institute of Culture). Alexander Alexandrovich Somov is one of the few balalaika players who, for many years, is demonstrating excellent performing skills, stability, brilliant virtuoso technique, impeccable musical taste, artistry. It is amazing how sonorous the voice of the balalaika becomes when it is in the hands of the virtuoso performer and propagandist of this Russian beauty. Stacatto dance tunes and brooding reverie, vigorous energy and strict simplicity fill the musician’s play. Graduating from V.S. Kalinnikov Music School in Orel, balalaika class of N.M. Kovaleva, he entered Orel Music College, the class of L.I. Lukonina. After the graduation A.A. Somov served his military service and entered Rostov State Music Institute (now Rostov State Conservatory. Rachmaninov). He was enrolled in the class of the famous balalaika player, Honored Artist of Russia, rector – А.S. Danilov. At the Institute he worked in the ensemble “Dontsi” (artistic director – Honored Worker of Culture of the Russian Federation, A.P. Kolontaev). Selina Galina Ivanovna is one of those prominent musicians-teachers who are capable of encouraging love for music in their students. She is sincerely involved in her work, which is aimed at bringing both professional skills and rich musical knowledge to students. In Orel there is a professional orchestra of folk music instruments, which is the first orchestra of this kind in the history of the Orel Region. It engages Orel’s best musicians and teachers. The first performance of the professional orchestra of folk music instruments took place in Orel on November 5, 1987. The orchestra was created on the basis of the Region’s musical society. In January 1991, by the decision of the administrative bodies of Orel, it received the status of the munici-pal orchestra. The founder and artistic director of the ensemble is Honoured Art Worker of Russia, Professor of the Orel State Institute of Culture, Viktor Kirianovich Suchoroslov. Orel’s educators are trying to revive and spread the native Russian traditions of instrumental per-formance and enrich them with high performing culture. Creative and pedagogical activities of balalai-ka players in the Orel Region convincingly show the high professional level of musicians. Teachers of modern children's art schools, College of Culture and Arts, Music College and Orel State Institute of Culture are highly qualified, competent and dedicated professionals who inspire their students. Crea-tive and pedagogical activities of balalaika players in Orel contribute to further preservation and development of this type of performing art.
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Макаренко, Зоя, Zoya Makarenko, Юлия Жилкова, Yuliya Zhilkova, Марина Бережная, and Marina Berezhnaya. "Items of jewelry art of pre- Mongolian Russia in the collections of Russian museums." Services in Russia and abroad 10, no. 4 (September 22, 2016): 122–31. http://dx.doi.org/10.12737/20189.
Full textAbstract:
The article deals with the question of exhibiting of jewelry art items of pre-Mongolian Russia in Russian museums. Public and private museums that were opening in the Russian Empire contributed to preservation of the cultural heritage of the country. When they were emerging, many private collectors donated part or all of their collections to state. This was especially promoted by opening of the Historical Museum in 1883 for the general public. Exhibits of public museum were replenished by the collections of Uvarovs, Kropotkins, Shcherbatovs, Golitsyns. The fate of collection of the outstanding collector M. Botkin is noteworthy.
Masterpieces of jewelry art of ancient Russia may be exhibited in only a few museums in the country, including two sites in the Moscow Kremlin, which show such kind of items. Collection "Russian gold and silverware of beginning of XII-XVII centuries" is located in the exposition hall 1 of Armory Chamber. The glass case 2 presents gold and silver items, made by goldsmiths of Kiev, Chernigov, Ryazan, Suzdal, Novgorod.
Museum affair after the October Revolution in the country was significantly reformed. Museums and collections of the palaces were declared as the national property. For registration, accounting and secure of all artistic and cultural treasures, the artistic and historical commissions and the State Museum Fund were created. Majority private collections were nationalized.
Russian Museum, located in the Mikhailovsky Palace in Sankt Petersburg has one of the largest collections of pre-Mongolian Russian treasures and individual items of jewelry art of X-XIII centuries.
Thousands of works of jewelry art of ancient Russia are collected in the expositions and funds of Russian museums. Today collections of not only central but also local museums are multiplied, facilities and exhibitions are quality improving.
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Zadoia, A., and I. Syzonenko. "The role of patronage in popularizing the work of Stanislav Zhukovsky." Science and Education a New Dimension IX(254), no. 46 (June 30, 2021): 18–21. http://dx.doi.org/10.31174/send-hs2021-254ix46-04.
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The article is devoted to the study of the peculiarities of patronage as a socio-cultural phenomenon, the forms of its manifestation in Russia at the end of the 19th and the beginning of the 20th centuries, as well as the influence on the formation of the creative fate of a particular person - the Polish artist Stanislav Yulianovich Zhukovsky (1873-1944), who, by the will of historical destinies, in the period under review lived on the territory of the Russian Empire in Moscow. The role of individual patrons of art in supporting the artist through the acquisition of his paintings is analyzed. The fate of individual works of the artist, which have survived to this day thanks to the private collections of Russian patrons of art, has been investigated.
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Липовецкий, П. Е. "The defence of PhD theses completed at the Department of Ecclesiastical History, Moscow Theological Academy." Церковный историк, no. 1(1) (June 15, 2019): 284–87. http://dx.doi.org/10.31802/chist.2019.1.1.022.
Full textAbstract:
С января 2017 года в Московской духовной академии по Благословению Его Святейшества Святейшего Патриарха Московского И Всея Руси Кирилла начали работу два кандидатских диссертационных совета. Специализация диссертационного совета №2 объединяет дисциплины кафедр церковной истории, церковно-практических дисциплин, истории и теории церковного искусства, а также славянской филологии. За истекший год в диссертационном совете успешно прошли защиту и были утверждены в степени Святейшим Патриархом Московским И Всея Руси Кириллом три кандидатские диссертации. In January 2017, two PhD dissertation councils began their work at the Moscow Theological Academy with the blessing of His Holiness, His Holiness Patriarch Kirill of Moscow and All Russia. Dissertation Council #2 is made up of the disciplines of the Departments of Church History, Church Studies, History and Theory of Church Art, and Slavic Philology. During the past year, three PhD theses were successfully defended in the Dissertation Council and approved by His Holiness Patriarch Kirill of Moscow and All Russia.
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Dovzhyk, Sasha. "Beardsley Men in Early Twentieth-Century Russia: Modernising Decadent Masculinity." Modernist Cultures 16, no. 2 (May 2021): 191–215. http://dx.doi.org/10.3366/mod.2021.0328.
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This article explores the reception of the Decadent artist Aubrey Beardsley (1872–1898) in Russia concentrating on new gendered meanings acquired by ‘Beardsleyism’ in modernist Russian culture. While the so-called ‘Beardsley Woman’ became a widely discussed literary construct and journalistic trope in Britain, the imagination of Russian artists and literati was captured by a ‘Beardsley Man’. Due to the circulation of the artist's portraits and descriptions by modernist periodicals such as Sergei Diaghilev's Mir iskusstva (1899–1904), a specific form of male (self-)representation emerged in the homophile art circles of St Petersburg and Moscow. Exploring this new urban Russian masculinity, I use the case studies of four men who were compared to Beardsley or used Beardsley as a model in their work and self-fashioning: artist Nikolai Feofilaktov, poet Georgii Ivanov, writers Mikhail Kuzmin and Iurii Iurkun.
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Bykova, Iuliia Igorevna. "Jewelers who were commissioned by the tsar in Russia during the time of Peter the Great: biography, work organization, and stylistics." Культура и искусство, no. 12 (December 2020): 27–51. http://dx.doi.org/10.7256/2454-0625.2020.12.34368.
Full textAbstract:
The goal of this research consists in comprehensive examination of all groups of gold, silver and diamond jewelers who were commissioned by the tsar in Moscow and Saint Petersburg in the late XVII – early XVIII centuries (their biographies, work organization, and artworks), as well as in analysis of stylistic evolution in the artistic image of items made of precious metals of that period. The research is based on the combination of art and historical-cultural approaches. The object this work the jewelry art of the time of Peter the Great. For achieving the set goal, the author refers to the unpublished archival documents and monument of decorative and applied art from the collections of Russian museums. Summary and analysis are conducted on the published material dedicated to the work of jewelers of that time; new records on the jewelers are introduced into the scientific discourse. The research demonstrates that that in the early XVIII century, tsar’s order was carried out by several teams of jewelers from Moscow and Saint Petersburg, who were simultaneously public servants and “free” artisans. The analysis of archival documents allowed specifying the nationality of foreign specialists, as well as the time of their arrival to Russia. The author suggests correlation between attitude of the monarch-commissioner towards court culture and the stylistics of works of decorative and applied art.
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Roberts, John. "After Moscow Conceptualism: Reflections on the Center and Periphery and Cultural Belatedness." ARTMargins 9, no. 1 (February 2020): 47–57. http://dx.doi.org/10.1162/artm_a_00254.
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Conceptual art is not only subject to a striking unevenness and a range of diverse forms across national territories during its emergence, but each national-cultural context in which it emerges is also exposed to the general belatedness of conceptual art’s relationship to its own avant-garde past. Each national-cultural formation was working with, and through, very different cultural and historical materials on the basis of very different kinds of awareness of the avant-garde past and the recent conceptual present. This article addresses this unevenness and belatedness by looking at the case of Moscow conceptualism in the 1970s and 1980s. In a period of post-Thaw and late Soviet ‘stagnation’, conceptual art takes the form in Russia of a generalised apophatic withdrawal from the ‘public sphere’, in which the absences, phlegmatic silences, and textual ambiguities of (some) conceptual art, assume a kind of heightened moral and poetic antipode to the (failed) rhetoric of Stalinist productivism. Yet, despite, its modernist reverence for indeterminancy, this work, nevertheless, retains an active ‘working’ relationship to the avant-garde (collective practice, the critique of the artistic monad). As such, this article examines the active and revenant links of Moscow Conceptualism to the memory of the avant-garde, based on Russian art’s contemporary sense of itself as a once major (revolutionary) centre of avant-garde production.
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Brym, Robert J. "Anti-Semitism in Moscow: A Re-examination." Slavic Review 53, no. 3 (1994): 842–55. http://dx.doi.org/10.2307/2501524.
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My dispute with Gibson and Hesli et al. rests on fundamental methodological differences. They do not fully appreciate the historical and political context from which Russian survey data derive. As a result, they engage in a series of statistical misapplications which undermine the soundness of their critique of my article with Degtyarev and of their views concerning the nature and consequences of anti-Semitism in Russia.
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Melnik, N. D. "The Magazine “Zolotoe runo” (1906–1909) as a Reflection of the Artistic Life of Russia at the Beginning of the 20th Century." Vestnik NSU. Series: History and Philology 20, no. 6 (August 11, 2021): 62–73. http://dx.doi.org/10.25205/1818-7919-2021-20-6-62-73.
Full textAbstract:
Purpose. The article studies the history of the magazine “Zolotoe runo” (“Golden Fleece”) that has been publishing in Moscow from 1906 till 1909. It was a project of the young art lover, millionaire N. P. Ryabushinsky, who decided to continue the mission of “miriskusniki” (members of the “World of Art” movement) and promote the aesthetic principles of symbolism, which he saw as the most promising style of art at the beginning of the 20th century.Results. Based on the analysis of the memoirs written by contemporaries, correspondence between the representatives of the Russian cultural elite, publications in the periodical press, as well as outcomes of modern research, the author argues that the magazine “Zolotoe runo”, providing its pages to outstanding writers and publishing works of iconic artists and articles about their works, became one of the most influential periodicals about art in Russia.Conclusion. This research shows that, having said a new word in art and journalism, the magazine “Zolotoe runo” became a worthy reflection of the artistic life of Russia at the beginning of the 20th century.
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Kaidi, Wang. "CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)." Arts education and science 1, no. 2 (2021): 99–106. http://dx.doi.org/10.36871/hon.202102012.
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The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.
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Sinitsyna, Olga. "The Moscow Association of Art Libraries (ARLIS/MOS)." Art Libraries Journal 20, no. 1 (1995): 20–21. http://dx.doi.org/10.1017/s0307472200009196.
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Emerging from an epoch of severe constraint, Russian libraries needed to experience freedom and independence before entering voluntarily into cooperative arrangements. Art libraries in Moscow, and also in St Petersburg, are now working together; in Moscow, informal cooperation preceded the foundation, by five institutions, of ARLIS/MOS in 1993, and the association has embarked on a programme of activities. (The text of a paper presented to the ARLIS/UK & Ireland Annual Conference in London, April 1994).
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Demchenko, Alexander I. "Post Scriptum. A Few More Composers’ Names." ICONI, no. 3 (2021): 84–102. http://dx.doi.org/10.33779/2658-4824.2021.3.084-102.
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In the previous lectures, which made up the cycle “Classics of Russian Music of the 20th Century”, the works of Sergei Rachmaninov, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitry Shostakovich, Aram Khachaturian, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke were examined. Let us supplement this panorama with two final lectures: the first is intended to extend the range of composers’ names, the second will be devoted to an overview of 20th century music with an outlet into the universal space. As it is well-known, since the time of Peter the Great, who established St. Petersburg, two capitals coexisted in Russia, each of which possessed its own face and style, among other things, in the creation of music. By the end of the 19th century, two compositional schools had developed: the St. Petersburg school, the core of which was the “Mighty Handful”, and the Moscow school, headed by Piotr Tchaikovsky. During the 20th century, these schools continued their fruitful interaction. Among the names presented in the main sections of my lectures, Stravinsky, Prokofiev, Myaskovsky, Shostakovich, Sviridov began their activities in St. Petersburg- Petrograd-Leningrad, and later they became Muscovites (except for Stravinsky, who lived abroad from the early 1910s). In the second half of the 20th century, the leaders of the musical process in Russia were the Moscow composers Rodion Shchedrin and Alfred Schnittke, along with whom many other names can be mentioned, including Edison Denisov, Sofia Gubaidulina and Vladimir Martynov. Representatives of the Leningrad school continued to make a significant contribution to the treasury of Russian music. The following short overviews of the works of Sergei Slonimsky and Valery Gavrilin will testify to this. In addition to the two capitals, composers from a number of other cities in Russia, primarily, those with conservatories, have worked tirelessly in the field of the art of music, which has significantly expanded the scale of the panorama of the musical art in our country — the creative heritage of Elena Gokhman is cited as a characteristic example.
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Witte, J. C., A. R. Douglass, A. da Silva, O. Torres, R. C. Levy, and B. N. Duncan. "NASA A-Train and Terra observations of the 2010 Russian wildfires." Atmospheric Chemistry and Physics Discussions 11, no. 7 (July 4, 2011): 19113–42. http://dx.doi.org/10.5194/acpd-11-19113-2011.
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Abstract. Wildfires raged throughout western Russia and parts of Eastern Europe during a persistent heat wave in the summer of 2010. Anomalously high surface temperatures (35–41 °C) and low relative humidity (9–25 %) from mid-June to mid-August 2010 shown by analysis of radiosonde data from multiple sites in western Russia were ideal conditions for the wildfires to thrive. Measurements of outgoing longwave radiation (OLR) from the Atmospheric Infrared Sounder (AIRS) over western Russian indicate persistent subsidence during the heat wave. Daily three-day back-trajectories initiated over Moscow reveal a persistent anti-cyclonic circulation for 18 days in August, coincident with the most intense period of fire activity observed by Moderate Resolution Imaging Spectroradiometer (MODIS). This unfortunate meteorological coincidence allowed transport of polluted air from the region of intense fires to Moscow and the surrounding area. We demonstrate that the 2010 Russian wildfires are unique in the record of observations obtained by remote-sensing instruments on-board NASA satellites: Aura and Aqua (part of the A-Train Constellation) and Terra. Analysis of the distribution of MODIS fire products and aerosol optical thickness (AOT), UV aerosol index (AI) and single-scattering albedo (SSA) from Aura's Ozone Monitoring Instrument (OMI), and total column carbon monoxide (CO) from Aqua's Atmospheric Infrared Sounder (AIRS) show that the region in the center of western Russia surrounding Moscow (52°–58° N, 33°–43° E) is most severely impacted by wildfire emissions. Over this area, AIRS CO, OMI AI, and MODIS AOT are significantly enhanced relative to the historical satellite record during the first 18 days in August when the anti-cyclonic circulation persisted. By mid-August, the anti-cyclonic circulation was replaced with westerly transport over Moscow and vicinity. The heat wave ended as anomalies of surface temperature and relative humidity, and OLR disappeared. After 18 August the fire activity greatly diminished over western Russia and levels of the satellite smoke tracers returned to values typical of previous years.
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Witte, J. C., A. R. Douglass, A. da Silva, O. Torres, R. Levy, and B. N. Duncan. "NASA A-Train and Terra observations of the 2010 Russian wildfires." Atmospheric Chemistry and Physics 11, no. 17 (September 8, 2011): 9287–301. http://dx.doi.org/10.5194/acp-11-9287-2011.
Full textAbstract:
Abstract. Wildfires raged throughout western Russia and parts of Eastern Europe during a persistent heat wave in the summer of 2010. Anomalously high surface temperatures (35–41 °C) and low relative humidity (9–25 %) from mid-June to mid-August 2010 shown by analysis of radiosonde data from multiple sites in western Russia were ideal conditions for the wildfires to thrive. Measurements of outgoing longwave radiation (OLR) from the Atmospheric Infrared Sounder (AIRS) over western Russian indicate persistent subsidence during the heat wave. Daily three-day back-trajectories initiated over Moscow reveal a persistent anti-cyclonic circulation for 18 days in August, coincident with the most intense period of fire activity observed by Moderate Resolution Imaging Spectroradiometer (MODIS). This unfortunate meteorological coincidence allowed transport of polluted air from the region of intense fires to Moscow and the surrounding area. We demonstrate that the 2010 Russian wildfires are unique in the record of observations obtained by remote-sensing instruments on-board NASA satellites: Aura and Aqua (part of the A-Train Constellation) and Terra. Analysis of the distribution of MODIS fire products and aerosol optical thickness (AOT), UV aerosol index (AI) and single-scattering albedo (SSA) from Aura's Ozone Monitoring Instrument (OMI), and total column carbon monoxide (CO) from Aqua's Atmospheric Infrared Sounder (AIRS) show that the region in the center of western Russia surrounding Moscow (52°–58° N, 33°–43° E) is most severely impacted by wildfire emissions. Over this area, AIRS CO, OMI AI, and MODIS AOT are significantly enhanced relative to the historical satellite record during the first 18 days in August when the anti-cyclonic circulation persisted. By mid-August, the anti-cyclonic circulation was replaced with westerly transport over Moscow and vicinity. The heat wave ended as anomalies of surface temperature and relative humidity, and OLR disappeared. After 18 August the fire activity greatly diminished over western Russia and levels of the satellite smoke tracers returned to values typical of previous years.
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VАRENTSOVA, Larisa Yu. "PALACE AGRICULTURE IN RUSSIA IN THE 17TH CENTURY." Tyumen State University Herald. Humanities Research. Humanitates 6, no. 3 (2020): 118–36. http://dx.doi.org/10.21684/2411-197x-2020-6-3-118-136.
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Throughout the 17th century, the Palace economy developed dynamically in the Royal fiefdoms, which by the middle — the second half of the 17th century were characterized by high profitability. The Palace lands provided the Romanov House with everything it needed. The components of the Palace economy included agriculture, fishing grounds, and manufacturing facilities. At the same time, the Royal manufactories were not numerous, the fishing grounds were not in all the sovereign’s fiefdoms, only agriculture dominated everywhere. The relevance of this work lies in studying the historical experience of socio-economic and political development of the Russian state in the 17th century. The purpose of the article is to consider Palace agriculture in Russia in the 17th century. The methodological basis of the study relies on the principles of historicism and scientific objectivity. The author has used the works by russian pre-revolutionary historians V. N. Tatishchev, S. M. Solovyov, and M. Baranovsky, as well as the works of researchers of the soviet and post-soviet periods S. I. Volkov, V. I. Buganov, V. A. Korostelev, and A. V. Topychkanov. The novelty of the research consists in the introduction of new historical sources into scientific circulation. The source database consists of the unpublished office documents from the Armory chamber fund 396, the Palace department fund 1239 of the Russian State Archive of Ancient Acts (RGADA, Moscow), as well as from the rare handwritten and old-printed books fund of the Moscow state United art historical, architectural and natural landscape museum-reserve. Among the published sources, we can distinguish a group of office documents. These are census, parish, and expense books of orders of Secret Affairs and the Grand Palace. In addition, the author has used the historical and geographical materials of the 17th — early 18th century from the books of the Discharge Order and the memoirs by the german traveler A. Oleary. The results show the place of Palace agriculture in the economy of the Tsar’s domain in Russia in the 17th century. The author has identified the main directions in the development of agriculture on the territory of the Palace fiefdoms. Having studied the attempt to modernize the Palace agriculture during the reign of Tsar Alexei Mikhailovich and to use the best european experience, this research highlights the significance of the Secret Affairs Order, which was in charge of many agricultural objects in the second half of the 17th century; their geographical coordinates are indicated. The author reveals the main features of the development of Palace grain farming, horticulture, animal husbandry, poultry farming, and beekeeping. The examples of farming in some Tsar’s villages of the Moscow Region showcase the ways of providing labor for the main objects of agriculture in the Tsar’s domain. The agricultural products from the Royal fiefdoms were intended for the Royal family. To a lesser extent, they were sent for sale on the domestic market. Different Royal fiefdoms specialized in particular fields. Namely, Izmailovo, Chashnikovo, Alekseevskoye, Stepanovskoye, Ekaterininskaya Grove, and Yermolino Palace villages near Moscow supplied rye, oats, wheat, hops, flax, and hemp. Grape, fruit, and mulberry orchards were bred in Chuguev, Astrakhan, Bryansk, and the Moscow Region. Russian and German specialists were involved in their service. The Palace villages Pachino, Alekseevskoe, Stepanovski, Ermolino, situated near Moscow, and the villages Lyskovo and Murashkino near Nizhny Novgorod were the centres of the Palace livestock. Tsar’s apiaryies were in Karpovka, Volnovsky, Kharkiv, Chuguyev, Olesinska, and Hotnichescom counties. Palace agriculture was served using the forced labor of palace peasants and posadsky people, soldiers, archers, while only small amounts of hired labor were involved.
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Trubitsina, Nataliya A. "“Spirit of Russia” in the Song Lyrics About the City of Yelets." Проблемы исторической поэтики 18, no. 2 (May 2020): 298–312. http://dx.doi.org/10.15393/j9.art.2020.8122.
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<p>The paper attempts to substantiate the opinion of Professor I. A. Esaulov about the special “spirit” of Russia present in the urban space of the ancient provincial Yelets. The analysis uses the song lyrics of local poets of the early twentieth century, published in 1996 in the almanac “Yeletskaya byl”. The author comes to the conclusion that the Yelets poets in their works conveyed the unique flavor of their native land by means of contamination of the main cultural codes of the Yelets text — Yelets Orthodox, Yelets merchant, Yelets-a city of military glory. Local mythology played a major role in the formation of the Yelets text of culture. The appearance of the mother of God at Yelets to Khan Tamerlane, after which there was a miraculous escape from the ruin of Moscow and all Russia, became a “starting” event for the perception of Yelets as a sacred city under the patronage of the mother of God. The widespread use of Orthodox symbols in the song lyrics about Yelets emphasizes the predominance of the religious and spiritual component over the visual and secular landscape of the city.</p>
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Hennings, Jan, and Edward Holberton. "Andrew Marvell in Russia." Journal of Medieval and Early Modern Studies 50, no. 3 (September 1, 2020): 565–86. http://dx.doi.org/10.1215/10829636-8626457.
Full textAbstract:
This article examines interactions between diplomatic representation, state bureaucracy, and rhetoric in early modern diplomacy. It analyzes manuscripts in the hand of the poet Andrew Marvell, which he wrote as secretary to the Earl of Carlisle’s 1663–64 embassy to Moscow. The manuscripts show how a battle over diplomatic ceremony and honor unfolded into disputes over the forms and decorum used in a lively exchange of diplomatic letters and written complaints. These texts were edited, translated, and published for English and international audiences by another embassy secretary, Guy Miège. The article traces the afterlife of the embassy letters in print, arguing that Marvell and Miège became central agents in shaping how the embassy was perceived at home and further afield. The wider context of public diplomacy drew from the secretaries’ considerable skill in framing diplomatic letters for consumption by different audiences. Early modern ambassadors performed rituals of sovereignty, symbolizing status and rank, but the complex art of diplomatic image-making was also directed by lower-ranking embassy personnel. Examining the relationship between bureaucratic practices and the performative nature of diplomacy, this article shows how secretaries exerted significant influence on the reception of early modern diplomatic relations.
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Galkina, Marina. "Traditions of folk culture and education." E3S Web of Conferences 284 (2021): 08015. http://dx.doi.org/10.1051/e3sconf/202128408015.
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The research on problems on preserving identity of tradition folk art and craft for strategic objective to design modern methods and tools in order to contribute to the creation of an education process. Experience was acquired in conducting relevant large-scale festivals, competitions, science conferences clearly demonstrated the younger generations growing ability in ownership to provide effective Russian Art cultural. Increased attention to realize workshops with Folk art and craft in the Moscow region system of additional education indicated positive dynamic for introducing teachers and children’s through period 2010-2020 years. It is notable for protection cultural historical heritage areas of Moscow region, which directed towards traditional Russian decorative Art especially over the past years.
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Khromov, Oleg. "TWO PRINTS BY LEONTY BUNIN IN THE 18TH CENTURY SERBIAN GRAPHIC." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 100–113. http://dx.doi.org/10.36340/2071-6818-2020-16-2-100-113.
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The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from these engravings were well known in Russia in the 17th-18th centuries. They were primarily used as illustrations in Russian manuscript books. The engravings were made by a Russian master at the end of the 17th century. According to the features of engraving, manner, and stylistics, they can be attributed to Moscow engraver Leonty Bunin. In Russian manuscripts, they were usually used as illustrations in the book The Passion of Christ along with the 14-sheet series The Passion of Christ by Leonty Bunin. Cases of using them as independent illustrations are known. In the 1730s, these engravings disappeared from the illustrations in The Passion of Christ series in Russian manuscript books. Their later prints are unknown in Russia. The history of their appearance in Serbia, in the Krka Monastery, remains unknown. Perhaps they appeared there as gifts from Russia which the monastery regularly received. In the 18th century, Serbian religious art experienced a powerful influence from Dutch graphics. As iconographic sources, Serbian masters used Flemish and Dutch engravings of the 16th and 17th centuries. They were the same ones that were used by Russian masters of the 17th century, especially of the second half of the century, as iconographic examples. The identity of the artistic processes that took place in the art of Serbia in the 18th century and Russia of the 17th century turned out to be so close that Serbian art historians regarded the Russian prints of the 17th century by Leonty Bunin as Serbian works of an unknown engraver of the late 17th - early 19th centuries. The biography of Leonty Bunin is considered in detail in the article, some facts of his life are presented for the first time.
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Roberts, Jodi. "Diego Rivera: Moscow Sketchbook." October 145 (July 2013): 85–114. http://dx.doi.org/10.1162/octo_a_00149.
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Diego Rivera made the following sketches during a seven-to-eight-month stay in the Soviet Union between 1927 and 1928. A prominent member of the Partido Comunista de México (Communist Party of Mexico), Rivera traveled to Moscow to participate in the tenth-anniversary celebrations of the 1917 Revolution. Word of Rivera's dedication to muralism as a politically potent art form preceded his arrival, and he quickly became embroiled in debates about Soviet art's ideological aims and physical characteristics. He lectured on monumental painting at the Komakademiia (Communist Academy) and joined the Oktiabr' (October) group, a body of artists—many former Constructivists—working in varied media but united in their rejection of easel painting in favor of works intended for public display and mass audiences. Rivera also received a commission from Anatolli Lunacharsky, the first Soviet Commissar of Enlightenment, for a fresco cycle (ultimately unrealized) at the Red Army's headquarters. As Maria Gough argues in this issue, the group of drawings, long assumed to be from a single notebook, is likely an amalgamation of sketches created during two distinct events, the tenth-anniversary celebrations in November 1927 and the May Day festivities of the following year. Rivera's sketches capture his reaction to these officially mandated public demonstrations—spectacles so large in scale that they defined a new type of mass political event. In January 1928, Rivera met two young American scholars—Alfred H. Barr Jr. and Jere Abbott, the future director and associate director of the Museum of Modern Art, New York, respectively—who were on the Russian leg of a European tour designed as an education in contemporary artistic developments. The three met regularly, visiting exhibitions and the studios of Moscow-based artists. The fruits of this unlikely friendship between a radical art-world celebrity and two fledgling art historians were seen in Rivera's one-man show at MoMA in the winter of 1931–32, a blockbuster that decimated the young museum's existing attendance records. In support of the exhibition, Abby Aldrich Rockefeller, a founding trustee of the Museum, purchased the sketches to help defray the cost of the artist's stay in New York. She donated the works to MoMA in 1935.
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Konovalov, I. B., M. Beekmann, I. N. Kuznetsova, A. Yurova, and A. M. Zvyagintsev. "Atmospheric impacts of the 2010 Russian wildfires: integrating modelling and measurements of the extreme air pollution episode in the Moscow megacity region." Atmospheric Chemistry and Physics Discussions 11, no. 4 (April 19, 2011): 12141–205. http://dx.doi.org/10.5194/acpd-11-12141-2011.
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Abstract. Numerous wildfires provoked by an unprecedented intensive heat wave caused continuous episodes of extreme air pollution in several Russian cities and densely pullulated regions, including the Moscow megacity region. This paper analyzes the chemical evolution of the atmosphere over the Moscow region during the 2010 heat wave by integrating available ground based and satellite measurements with results of meso-scale modeling. The state-of-the-art CHIMERE CTM is used, which is modified to take into account air pollutant emissions from wildfires and the shielding effect of smoke aerosols. The wild fire emissions are derived from satellite measurements of the fire radiative power and are optimized by assimilating data of ground measurements of carbon monoxide (CO) and particulate matter (PM10) into the model. It is demonstrated that the optimized simulations reproduce independent observations, which were withheld during the optimisation procedure, quite adequately (specifically, the correlation coefficient of daily time series of CO and PM10 exceeds 0.8) and that inclusion of the fire emissions into the model significantly improves its performance. The results of the analysis show that wildfires were a principal factor causing the observed air pollution episodes associated with the extremely high level of daily mean CO and PM10 concentrations (up to 10 mg m−3 and 700 μg m−3 in the averages over available monitoring sites, respectively) in the Moscow region, although accumulation of anthropogenic pollution was also favoured by a stagnant meteorological situation. In contrast, diagnostic model runs indicate that ozone concentrations could reach very high values even without fire emissions which provide "fuel" for ozone formation, but, at the same time, inhibit it as a result of absorption and scattering of solar radiation by smoke aerosols. The analysis of MOPITT CO measurements and of corresponding simulations indicates that the observed episodes of extreme air pollution in Moscow were only a part of a very strong perturbation of the atmospheric composition, caused by wildfires, over the largest part of European Russia. It is estimated that 2010 fires in the European part of Russia emitted ~9.7 Tg CO, that is more than 85% of the total annual anthropogenic CO emissions in this region. About 30% of total CO fire emissions in European Russia are identified as emissions from peat fires.
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Alekseev, Evgeny P. "Art of Being an Art Critic. Review of: Busev, M. A. (2020). Iskusstvo postigat’ iskusstvo: sbornik statei k 100-letiiu N. A. Dmitrievoi [Art of Comprehending Art: Collected Articles for N. A. Dmitrieva’s 100th Birthday]. Moscow: BooksMArt. 408 p.: Il." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 2 (2021): 288–96. http://dx.doi.org/10.15826/izv2.2021.23.2.041.
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This review examines Art of Comprehending Art, a collection of scholarly articles based on the materials of the conference Historical and Theoretical Issues of Art Studies: For N. A. Dmitrieva’s 100th Birthday (held on April 24–25, 2017 at the State Institute of Art Studies of the Ministry of Culture of the Russian Federation). The first part of the collection presents colleagues’ memories about N. A. Dmitrieva’s work revealing various facets of her talent. In the second part of the book, scholarly articles by contemporary art historians are devoted to the issues that N. A. Dmitrieva examined, i.e. the history of art criticism and art education in Russia, theoretical and methodological issues (image and word, issues of interpretation, kitsch), the creative work of P. Picasso, M. Vrubel, and A. Chekhov. The third section contains fragments of N. A. Dmitrieva’s diary, as well as two previously unpublished articles.
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Schindler, Viktoria. "Color Theories from Western Europe and the United States in the Writings of Ivan Kliun." Experiment 23, no. 1 (October 11, 2017): 253–66. http://dx.doi.org/10.1163/2211730x-12341314.
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Abstract This article focuses on manuscripts on color theory by the lesser-known Russian artist Ivan Kliun (1873-1943), who, in the early twentieth century, worked together with leaders of the Russian avant-garde in the cultural centers of Moscow and St. Petersburg and made a significant contribution to the development of abstract art. Kliun belongs to a group of Russian avant-garde artists who endeavored to discover entirely new methods for investigating artworks, to develop art theory backed by science, and to renew art. He faced these great challenges by scientifically researching the various elements of art such as color, form, texture, light, space, and the principles of their combination in a composition in order to illustrate which aspects of a work of art have an impact on the viewer and his psyche. Kliun left behind a large body of writings, many of which are still unpublished. These writings contain his own reflections as well as excerpts from various scholarly treatises on color theory composed by international scientists. Kliun’s manuscripts offer a summary of relevant insights into the physical properties of color, tenets of contrast, and the sensual effects of color from works by Wilhelm Ostwald, Hermann von Helmholtz, Leopold Richtera, Matthew Luckiesh, and Albert H. Munsell. Kliun’s writings reveal that, in the 1920s, the studies of color theory in Russia were based on the same sources as those abroad. Russian avant-garde artists and scientists followed the ongoing developments in color research and gained access to the latest foreign publications.
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Artamonova, Svetlana. "Art Collections of the Russian State Library." Art Libraries Journal 17, no. 2 (1992): 27–28. http://dx.doi.org/10.1017/s0307472200007793.
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The former Lenin State Library in Moscow, now the Russian State Library, holds extensive collections of graphic and photographic materials, Russian and foreign, dating from the 15th century to the present day. These include a collection of some 434,000 posters, of which film and political posters form the largest subsections; a smaller number of pre-Revolutionary posters is of special interest. The collection of engravings totals some 93,000 items, and includes both works of European masters and Russian popular prints. There are also collections of postcards, “albums”, and manuscripts.
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Maslov, Konstantin I. "The Murals of the Hall of the Facets in Moscow Kremlin: Returning to Folk Spirit." Observatory of Culture, no. 6 (December 28, 2014): 54–59. http://dx.doi.org/10.25281/2072-3156-2014-0-6-54-59.
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Is devoted to the repainting of 16th century murals in the Hall of the Facets in Moscow Kremlin by the Palekh iconpainters Belousovs which was organised on the occasion of the coronation of Alexander III by Georgy Filimonov, a famous archaeologist. While Alexander III considered the “restored” painting as the important element of the celebrations that were to display the idea of sacrosanctity of tsarist autocracy, Filimonov believed that the paintings of the Hall were to contribute to the development of the truly national art in Russia.
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Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (November 12, 2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.
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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural figures.Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a significant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fictional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare.Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fill the New Theater with bright creative content and make it a favorite of the Leningrad audience.This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.
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Kolobov, E. "THE SOVIET AND FOREIGN WRITERS AT THE SIXTH WORLD FESTIVAL OF YOUTH AND STUDENTS." Voprosy literatury, no. 4 (October 2, 2018): 215–29. http://dx.doi.org/10.31425/0042-8795-2018-4-215-229.
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The article examines the role of the Writers’ Union of the USSR and the country’s individual authors in the organization of the World Youth Festival in Moscow in 1957. The forum helped rekindle the literary connections and reestablish contacts with European and American writers which had been severed in the late 1930s. Besides, young writers from Africa, Asia and South America were able to visit the festival. This forum was a highly significant international event which grasped the attention of the writers from most Soviet republics and autonomous regions. Until now, this aspect has not been discussed neither in Russia nor abroad. The author provides a rich compendium of materials from the Russian State Archive of Literature and Art, some of which are in print for the first time.
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Marchenko, Tatiana V. "Bouquet of Violets, or Being a Bit Nervous: Finishing Touches to the 1933 Nobel Days." Studia Litterarum 5, no. 4 (2020): 472–505. http://dx.doi.org/10.22455/2500-4247-2020-5-4-472-505.
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In 1933, Ivan Bunin was the first Russian author to be awarded the Nobel Prize in literature. This article bears on the materials held in Moscow archives that contribute to the Bunin “Nobeliade” that researchers have reconstructed relying on foreign collections. The ego-documents of direct participants and first-hand witnesses of the events that took place between November 9 (the announcement of the Swedish Academy) and December 3 (Bunin’s departure from Paris to Stockholm) add touching details to this historical moment and also demonstrate different attempts to manipulate the laureate. Dozens of telegrams and some letters to the laureate are stored in the Russian archive of art and literature. They overlap with the letters of the abovementioned Bunin’s correspondents to other persons held in the House of Russia Abroad. They latter archive also includes a handwritten note of Bunin. This is the first publication of the mentioned archive materials.
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Norros, Merja. "What's New in Legal Cooperation in Criminal Matters with Russia since 2004?" Review of Central and East European Law 36, no. 2 (2011): 91–125. http://dx.doi.org/10.1163/092598811x12960354394849.
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AbstractThe present article examines what has happened in Russia in the field of legal cooperation in criminal matters since 2004. The retrospective approach has been chosen in order to update the article published in this Review in 2004 which included several recommendations for Russia to improve its system for international cooperation. The current work subjects these recommendations and developments in the area to a critical review. Since 2004, there have been no major innovations in Russian legislation regarding legal cooperation in criminal matters. Interestingly enough, Russia took a misstep, when it abolished the concept of confiscation in criminal law. The resolution of this experiment indicates that there has been some degree of improvement in the procedure concerning implementation of new treaties. As regards extradition cases, several difficulties were foreseen already in 2004 and, indeed, some of them have been realized—in particular, concerning those Russian requests for extradition that have political connotations. When it comes to institutional structures, the number of "Central Authorities" has not been reduced. The system is still highly centralized in Moscow. On the basis of the author's experience, the knowledge of international treaties and their application—to some extent—has increased among Russian practitioners. The author suggests continuing cooperation with Russia in various international fora as well as on a daily basis in handling concrete cross-border cases. In her opinion, legal assistance in criminal matters is a fairly narrow field of expertise and, therefore, a challenging "form of art" for any person involved.
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Dorofeeva, Yuliya, and Aleksey Moiseev. "Systematization of theory and methodology for teaching advertising and portrait photography based on the Russian experience." E3S Web of Conferences 210 (2020): 18112. http://dx.doi.org/10.1051/e3sconf/202021018112.
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This article aims at systematizing the key methods, principles, and approaches that underlie the proprietary integrated methodology for teaching advertising and portrait photography. Summarizing the authors’ wealth of educational expertise and successful experiments in teaching photography in Russia has become the primary objective of this article. The main research methods we employed were as follows: comparative analysis and pedagogical experiment (ascertaining, searching, educational). Findings: Essential aspects of the proprietary integrated methods of teaching advertising and portrait photography have been described; the global and domestic experience of teaching photography has been summarized. The proprietary integrated methods for teaching advertising and portrait photography has been tested by the authors in the systems of higher education, secondary vocational education, and continuing professional education in various fields and areas: design, computer graphics, art photography / photo art, the history, theory, techniques, and technology of photography, including advertising and portrait photography. The following institutions have become the main testing platforms: GOU VO MO Moscow State Regional University, the Arts and Design School under ANO VO Business and Design Institute, the School of ANOO VO Russian University of Cooperation under the Central Union of Consumer Societies of the Russian Federation (Centrosoyuz of Russia). The article suggests a classification of the aspects essential for advertising and portrait photography, provides recommendations for how to teach these types of photography, along with featuring the statistics on successful/failed students’ assignments and providing examples of copyrighted photographs taken for magazines.