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Journal articles on the topic 'Russian Painters'
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1
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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Kuryanova, Anastasia M. "Russian Artists at the Russian Orthodox Ecclesiastical Mission in Beijing in the 19th Century: Some Research Concerns." Oriental Courier, no. 4 (2022): 105. http://dx.doi.org/10.18254/s268684310023832-3.
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In 1830, a Russian painter named Anton M. Legashov (1798–1865) went to Beijing as part of the Russian Orthodox Ecclesiastical Mission becoming the first professional Russian artist in China. In total, four Russian painters visited China being included in the mission: A. M. Legashov, K. I. Korsalin, I. I. Chmutov, and L. S. Igorev. In Beijing, the artists were supposed to paint portraits commissioned by the Chinese and thereby establish useful contacts with influential Chinese officials; in fact, the painters acted as diplomatic agents. At the same time, they had to fulfill the task of the Imperial Academy of Arts, St. Petersburg, which instructed them to collect visual evidence about the life, customs and views of the distant eastern country. Upon arrival in China, Russian painters were introduced to a unique artistic scene of the late Qing Dynasty, where Chinese, European and Occidental art interacted. Thanks to that, the work of Russian artists acquired a very distinctive look. However, nowadays the heritage of these painters is practically not studied due to several issues connected with a small number of their surviving works, questionable attribution, unclear provenance, insufficient study of neighboring artistic phenomena, such as Chinese export art or the art of the followers of Giuseppe Castiglione and other Jesuit artists at the Chinese imperial court. The article is thus devoted to the analysis of the difficulties regarding the study of the work of Russian artists at the Russian Orthodox mission in Beijing. The identification and analysis of these research concerns will allow to further develop methodology for studying the work of these painters, whose unique oeuvre remains a noticeable gap in Russian art history, while the history of the Russian Ecclesiastical mission itself or the art of Western missionaries in China have been deeply analyzed by both Russian and foreign scholars.
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Lazarević, Davor. "Emigrants easel: Russian painters in Pirot." Pirotski zbornik, no. 43 (2018): 101–14. http://dx.doi.org/10.5937/pirotzbor1843101l.
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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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Netreba, Elizaveta S. "ANALYSIS OF THE PARTICIPATION OF YOUNG PAINTERS FROM YEKATERINBURG IN THE INTERREGIONAL EXHIBITIONS OF THE URAL DIVISON OF THE RUSSIAN UNION OF ARTISTS." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 19. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-19.
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The exhibiting activity of Yekaterinburg’s young painters in the course of professional growth has been reviewed based on information on their participation in Ural regional and interregional exhibitions held by the Union of Artists of Russia from 2003 to 2018. The statistical data have been tabulated, enabling one to see changes in the exhibiting activity and genre and style preferences of young painters. The results of the study are important for understanding the transformations taking place in the involvement of young people in professional exhibition activities considering that participation in regional exhibitions is an important indicator of a painter’s development within the Union of Artists.
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Petkovic, Sreten. "Sava Krabulevic, the painter of the late seventeenth and early eighteenth century." Zograf, no. 33 (2009): 159–66. http://dx.doi.org/10.2298/zog0933157p.
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The painter Sava Krabulevic is known only as the author of the iconostasis in the Monastery of Orahovica in eastern Slavonia. This work, which he produced in 1697, attracted the attention of Serbian art historians because some of the icons show Western influences. The article describes how Krabulevic found himself in Moscow (1688-1694) by dint of circumstance and adopted some of the West European painting techniques through Russian icon painters.
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Žanja Vrbica, Sanja. "Hrvatska slikarska dionica ruskog marinista Alekseja Hanzena." Ars Adriatica 8, no. 1 (December 28, 2018): 163–78. http://dx.doi.org/10.15291/ars.2760.
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Within the group of lesser-known foreign painters who stayed in Croatia between the two world wars, Russian painter Alexei Hanzen (b. February 2, 1876 in Odessa – d. October 19, 1937 in Dubrovnik) stands out with his artistic achievements. Having immigrated to Croatia in 1920, he remained here for the rest of his life. Nearly two decades spent in Croatia have been a time of intense work, during which Hanzen participated in numerous exhibitions organized almost every year in Zagreb, as well as in Split, Osijek, Dubrovnik, Ljubljana, Belgrade, Paris, Buenos Aires, Prague and elsewhere. His paintings could be seen at private houses, in public and museum collections, and at various royal courts, and are nowadays part of various collections in Croatia. Early in the 20th century, Hanzen studied painting in Munich, Berlin, and Dresden, and then continued his artistic training in Paris, in the ateliers of Tony Robert-Fleury and Jules Lefebvre. He was the grandson of the famous Russian marine artist Ivan Kostantinovich Ajvazovsky, and likewise specialized in painting sea scenes, presented at various exhibitions from 1901 onwards. For his work he was awarded in Paris and Russia, and in 1910 became the official painter of the Russian Navy.
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Tsyaomin, Mi. "Main Intersections in the Approaches of Russian and Chinese Artists to Chinese Landscapes Painting." Культура и искусство, no. 4 (April 2022): 33–46. http://dx.doi.org/10.7256/2454-0625.2022.4.37855.
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The article is devoted to the study of Chinese landscapes painting by Chinese and Russian artists. Comparative analysis of landscape painting by Chinese and Russian artists dedicated to China allows to identify the most important trends and patterns in the methods of landscapes painting in Russia and China of the late XX в - early XXI century. The purpose of this study is to determine the main intersections in the approaches of artists of the two countries. The specificity of the artistic and expressive language of Chinese and Russian landscape artists in the embodiment of landscapes of China is determined primarily by the influence of the modern national school of painting, as well as the desire to develop and update existing traditions, finding inspiration in foreign experience, coming into contact with foreign culture and artistic tradition. The main conclusions of the study are that landscape painting by artists of Russia and China reveals similarities in formal terms: artists of both countries use techniques of both, realistic school and impressionism. Scientific novelty is determined by the fact that the mechanism of integration of the principles of realism and Western impressionism by Chinese painters is revealed. The author introduces an extensive body of artistic materials of Russian and Chinese painters into Russian science, notes that there are significant differences between the artists of the two countries.
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Kuzina, Nataliya. "Russian-Catalan Relations of the Second Half of the 19th and Early 20th Century." ISTORIYA 13, no. 10 (120) (2022): 0. http://dx.doi.org/10.18254/s207987840023314-4.
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This article is devoted to contacts and connections between Catalan and Russian intellectuals, artists in the period from the second half of the 19th century to the beginning of the 20th century. These interactions were largely fragmentary, the connections were personal and few, but they significantly influenced the literary and artistic life of Russia and Catalonia. Questions of culture, science and art were the main subjects of conversation between Russians and Catalans. The article highlights such episodes as the correspondence between I. Pavlovsky and N. Ollier, the influence of the Catalan artist M. Fortuny on domestic painters, joint projects of S. Diaghilev and H. Sert, etc.
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Gauzer, Irina V. "CODE OF SPANISH PAINTING IN RUSSIAN CULTURE (BASED ON THE RUSSIAN FICTION OF THE XIX - EARLY XX CENTURIES)." Interexpo GEO-Siberia 5 (July 8, 2020): 3–10. http://dx.doi.org/10.33764/2618-981x-2020-5-3-10.
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The paper deals with reception of the Spanish pictural images presented in the Russian fiction of the XIX - early XX centuries. The material of the study are works by I.A. Goncharov, A.F. Pisemsky, N.S. Leskov, N.D. Khvoshchinskaya, N.A. Leykin, L.N. Andreev, A.T. Averchenko. The analysis results show that the theme of the Spanish painting in the Russian fiction is focused on images of two painters - Bartolome Murillo and Diego Velazquez. What is more, with time there is a shift of contexts in which the writers put the images of the Spanish painters and their masterpieces. If in the middle of the XIX century these images are markers of the high art sphere that connect the Russian space with the latter, in the early XX century they represent gaps between elite classic art and mass culture of the epoch fin de siècle.
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Sinem Kucuk, Kamile. "The Sociocultural Aspects of Merchant Class in the Light of Russian Painting Art." European Journal of Multidisciplinary Studies 2, no. 1 (August 30, 2016): 81. http://dx.doi.org/10.26417/ejms.v2i1.p81-85.
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The merchant class, which contributed to the improvement of Russia, evolved due to politicial reforms. Especially in 1861 the emancipation reform of the Russian serfs caused social and culturel changes in the life of merchants. In 19th and early 20th century, the works of Russian genre painters P.A. Fedetov, A.P. Ryabushkin, V.G. Perov, F. Juravlev and B.M. Kustodiyev not only reflected the social situation and stereotypes of merchants, but also revealed cultural history of the mentioned class. In this paper it is aimed to disclose the evolution of merchant class in 19th and the early 20th century, observing and analysing the art of Russian painting in sociocultural perspective.
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Timoschenkova, Galina A. "Figures of the socio-political, scientific, and cultural life of Italy, 17–19 centuries. The exhibition of autographs at the RSL." Bibliotekovedenie [Russian Journal of Library Science], no. 5 (October 24, 2011): 70–78. http://dx.doi.org/10.25281/0869-608x-2011-0-5-70-78.
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2011 — the Year of Russian culture and Russian language in Italy and the Year of Italian Culture and Italian language in Russia is the culmination of centuries-old ties between Moscow and Rome. The history of relations between Russia and Italy is intimately associated with the interpenetration of cultures of two countries: Italy culture in Russia — due to famous and great architects, sculptors, musicians, and Russian in Italy, where many painters, poets and writers from our Fatherland worked. “Cross-year” also has been reflected in the activities of the Russian State Library, where was the exhibition of the Italian autographs of 17–19 centuries, presented to visitors for the first time from 10 to 30 June 2011. There are letters and documents written with the own hand of those who made up blossom to Italy, working for the blessing and country prosperity, struggling for its independence.
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Wu, H. "Works of Russian Watercolor Painters in the Early 21st Century." Университетский научный журнал, no. 56 (2020): 34–47. http://dx.doi.org/10.25807/pbh.22225064.2020.56.34.47.
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Issiyeva, Adalyat. "Dialogues of Cultures." Revue musicale OICRM 3, no. 1 (June 6, 2019): 71–92. http://dx.doi.org/10.7202/1060122ar.
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The influence of the Saisons Russes, with its utterly Orientalist appeal in defining French modernism and Western avant-garde culture in general, is widely known and discussed by many researchers from multiple perspectives (Schaeffner 1953, Garafola 1989, Davis 2010, Bellow 2013). Less emphasised to date is the fact that Russian Orientalism emerged from European stimuli and, in many respects, its very existence is indebted to French Orientalism. As the famous Russian Orientalist Vasily Bartol’d complained, “The Orient’s neighbour, Russia, despite its geographical proximity, often preferred reading shoddy Western books on the Orient to a direct study of the Orient” (Bartol’d 1925, p. 295). 1 This occurred as a result of the nineteenth-century travels of many Russian literary men, painters, and linguists to Europe (notably to France and Germany) to study with famous Orientalists. This paper contextualizes French Orientalism within nineteenth-century Russian culture and considers how French musical Orientalism was negotiated in Russian writings from the period. Despite the critical views of Russian musicians toward French music with oriental subjects, the music nevertheless resonated with Russian compositional practices and some of its devices were used occasionally to depict not only the Orient, but Russia itself.
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Lavrentyev, Aleksandr Vladimirovich. "To the history of the appearance of frescoes by Andrey Rublev and Daniil Cherniy in the Assumption Cathedral of Vladimir." Studia Slavica et Balcanica Petropolitana, no. 2 (28) (2020): 141–58. http://dx.doi.org/10.21638/spbu19.2020.209.
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The article discusses the reasons and circumstances of the trip made by the famous icon painters Andrei Rublev and Daniil Cherny in 1408 to Vladimir-on-Klyazma in 1408, commissioned by the Grand Prince Vasily Dmitrievich in order to «renew» frescos of the Assumption Cathedral. The trip resulted in one of the most famous fresco ensembles of the Russian Middle Ages. In historiography, it is customary to explain the arrival of the icon painters to Vladimir by the constant concern of the Grand Prince authorities about the cultural and political «Vladimir heritage». The article suggests that a possible reason for the beginning of the works was the preparation of Vladimir and other cities on the former lands of the Grand Principality of Vladimir for their transfer to the governance of the Lithuanian Prince Svidrigailo Olgerdovich. In the summer of 1408 Svidrigailo left for Russia accompanied by the Bryansk bishop, Lithuanian Orthodox princes, boyars and a military squad. Awarding the ancient capital of the Great Principality to the new «servant» of the Grand Prince Vasily Dmitrievich Vladimir was unprecedented. Vladimir-on-Klyazma was never mentioned among the Russian territories granted to other Lithuanian princes who passed into the service of Moscow in the 14–15th centuries. Svidrigailo Olgerdovich’s «departure» and the simultaneous commanding of the icon painters to the city to work on the paintings of the cathedral was hardly an accident. At the end of the same year, Svidrigailo Olgerdovich left his new «service», and due to that the works on frescos were suspended and never not resumed in the future.
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HAKOBYAN, ARA. "SEA PAINTER EMMANUEL MAHTESYAN." Main Issues Of Pedagogy And Psychology 10, no. 1 (April 4, 2016): 150–56. http://dx.doi.org/10.24234/miopap.v10i1.197.
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Emmanuel Mahtesyan, who composed in Russian Empire, has his particular place and role in the series of the Armenian sea painters. The artist’s life, creative activity, the connection between Mahtesyan and Armenian intellectuals are presented in the article. In the heritage left by Mahtesyan Hovhannes Ayvazovki’s art influence is noticed.
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HAKOBYAN, ARA. "SEA PAINTER EMMANUEL MAHTESYAN." Main Issues Of Pedagogy And Psychology 11, no. 2 (September 29, 2016): 152–58. http://dx.doi.org/10.24234/miopap.v11i2.262.
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Emmanuel Mahtesyan, who composed in Russian Empire, has his particular place and role in the list of the Armenian sea painters. The artist’s life, creative activity, as well as the connection between Mahtesyan and Armenian intellectuals are presented in the article. Hovhannes Ayvazovki’s art influence is noticed in the heritage left by Mahtesyan.
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Shashkina, Margarita N. "PUBLIC FIGURE I.YA. SLAVIN AND PAINTER ARTIST A.P. BOGOLYUBOV - ZEALOUS GUARDIANS OF THE SARATOV LAND'S GOOD." History and Archives, no. 4 (2020): 12–25. http://dx.doi.org/10.28995/2658-6541-2020-4-12-25.
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Alexey Bogolyubov and Ivan Slavin are the two prominent figures in the cultural and public life of the Russian Empire’s Saratov Province. The former was a well-known painter, philanthropist, and Maecenas. In 1885, Alexey Bogolyubov initiated the foundation of the Saratov Museum of Fine Arts (the first public fine arts museum in Russia) and the creation of the famous Saratov drawing school, the cradle of many Russian painters, which was opened after Bogolyubov’s death in 1897. The latter – Ivan Slavin was an eminent public figure in Saratov, the author of the memoirs about the development of his native city in the pre-revolutionary period. In his book, Slavin described the events in which he himself was directly involved as a member of the city government. The Saratov Region State Archives has preserved the documents attesting to the long-lasting friendly relationship between A.P. Bogolyubov and I.Ya. Slavin. The materials elaborate on the roles of the two personalities in the history of the Volga city, which, before World War I, was considered to be the “capital of the Volga Region”. The article tries to analyze how and on what basis did the two characters draw closer. The difference in age was not an obstacle and did not interfere with their business and friendly relationship. Alexey Bogolyubov spent most of his life abroad. Ivan Slavin, out of his convictions, never left his homeland. They were united by the Russian language, pan-European culture, their dedicated service to Russia, understanding of their duty to contemporaries and descendants. “The Sons of the Fatherland” – this noble definition can fully characterize both figures.
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Koltsova, Tatiana Mikhailovna. "Icon-Painting Workshop of the Solovetsky Monastery. 17th - Early 20th Century." Secreta Artis, no. 3 (November 20, 2020): 50–75. http://dx.doi.org/10.51236/2618-7140-2020-3-3-50-75.
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Founded in 1429, the Solovetsky Monastery has throughout several centuries preserved and maintained the traditions of Russian icon painting in the North. In its iconpainting chamber (the building was constructed in 1615), new iconostases were created and icons from the churches of the monastery and patrimonial lands in Pomorie were repaired. In the 17th century, 45 icon painters worked on Solovki in different years, among them were monks, monastery servants, and “trudniks” (lay workers). In the 18th century, the artists of the Pomor patrimonial lands underwent their initial training at the monastery school of icon painting. Families of hereditary icon painters Chalkovs and Savins from Sumsky Posad are particularly well-known. The monastery sent the most gifted students to St. Petersburg and Moscow to improve their art. In 1880, the Solovetsky painting school was inaugurated, where many northern icon painters acquired basic painting skills. Copying and painting from life formed the basis of the educational process; students were offered paintings from the Academy of Arts as samples. The icons and paintings made in the workshop are distinguished by their characteristic stylistic, technical and technological features. The most prominent graduates of the school (A. A. Borisov, N. G. Bekryashev) contributed significantly to the history of Russian art. The article contains new archival documents and rare photographs.
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Lodder, Christina. "Sculpture at the “Last Futurist Exhibition of Paintings ‘0.10’ (Zero-Ten)”." Experiment 18, no. 1 (2012): 140–65. http://dx.doi.org/10.1163/221173012x643080.
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Abstract This article explores the “Last Futurist Exhibition of Paintings ‘0.10’” (1915) as a key moment when Russian painters began to work seriously in three dimensions, exploring the nature of materials, questioning the relationship between art and reality, and ultimately laying the foundation for the subsequent emergence of the Constructivist movement. The exhibition revealed an important strand in Russian creative thinking and practice concerning sculpture and the nature of artistic materials.
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Hu, Alice Joan. "Jan Philip van Thielen and his flower garland paintings." Культура и искусство, no. 3 (March 2021): 58–65. http://dx.doi.org/10.7256/2454-0625.2021.3.33322.
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The subject of this research is the artworks of the Flemish painter Jan Philipp van Thielen – a prominent author of the pieces depicting flower garlands in the XVII century, but so little-known nowadays. His name is unjustly forgotten in Russian historiography, although his paintings exhibited in the national museums; although in Western historiography, his popularity has grown in recent decades. Special attention is given to the painter’s works in different genres (religion, portraits, mythology), which are framed by a flower garland accentuating and symbolizing the central images. The scientific novelty of consists in ratification of art of the once renowned and now almost forgotten painter Jan Philipp van Thielen, as well as in the proof that he was one of the most popular flower painters in Flanders, and his patrons and customers were such high-rank aristocrats as Diego Felípez de Guzmán 1st Marquess of Leganés (1580-1655), and Archduke Leopold Wilhelm of Austria (1664-1662), both art lovers and philanthropists. The acquired results demonstrate that Jan Philip van Thielen painted flower garlands in different genres. In the art of Flanders of the XVII century with remarkable success the showed the beauty of garlands and their use for enhancing the religious or moralizing meaning of the central images. His works are widely exhibited not only in museums, but also in auctions, which once again proves his important role in the painting of the XVII century.
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Sharova, Elena A. "THE ARTIST A. N. MOKRITSKY IN ITALY IN THE 1840S: LANDSCAPE ART EXPERIENCE." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 289–99. http://dx.doi.org/10.37816/2073-9567-2020-58-289-299.
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The paper explores the art works of A. N. Mokritsky, the painter who lived in Italy in the 1840s and had a strong passion for landscape painting. Being taught by A. G. Venecianov first and then graduating from the Imperial Academy of Arts under K. P. Bryullov, he himself followed the path of teaching and became an outstanding person in the Russian Art History of the second third of the 19th century. Mokritsky came to be known as a painter of an average talent who didn’t leave a distinctive mark on the national art. However, it was him who as a presumable representative of the artistic milieu became an indicator of the changes taking place in this art environment. The article provides a picture of years Mokritsky spent in Italy which is the most important period of his professional development and a prominent time of the Roman colony of the Russian artists as well. The author considers the artist’s close interaction not only with members of the Russian colony in Rome, but also with representatives of European art schools. Involving of archival materials and literary sources allowed to substantially supplement information about the life and work of Mokritsky during his trip abroad. Upon analysis of a significantly expanded list of landscape works created by the artist in this period, the author identified a number of characteristic features of the Italian landscape of the 40s of the 19th century taking into account the works of other painters.
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Zink, Andrea. "What is good work? Nikolai Leskov’s Zapechatlennyi angel." Zeitschrift für Slawistik 67, no. 1 (March 15, 2022): 121–39. http://dx.doi.org/10.1515/slaw-2022-0006.
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Summary In contrast to many other Russian authors of his time, Nikolai Leskov makes a point of investigating economic questions not only in his journalism articles, but also in his literary works. He focuses on social groups that earn their living through work, in particular merchants and craftsmen. Among these are bridge builders and icon painters, as in Zapechatlennyi angel. The skilled craftsmanship of the painters is especially emphasised in the angel story, which demonstrates, above all, what Leskov considers to be good work: his expectations include mastery of the material, a good cause for the work, and its use for a social collective. Adequate pay is valued, but profit is not the objective. With these demands, Leskov undermines not only the capitalist growth imperative, but also the image of a Russian tendency towards idleness. In the end we are, as in all of Leskov’s economic stories, referred to the merits of literary craftsmanship.
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Kapinus, Alexander. "On the Issue of the Painting Technique of the Marine Artist V.I. Shilyaev." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 185–94. http://dx.doi.org/10.17150/2500-2759.2020.30(2).185-194.
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Seascape is a special genre of painting. To show the vivid life of the sea is not an easy task for an artist. The creative heritage of marine painters not only delights, but also encourages modern artists to look for their own style, to develop their own painting technique to achieve it. The author analyzes the genesis of the special manner of the Far Eastern marine painter V.I. Shilyaev in the representation of a live transformation of the sea wave, attempts to characterize his original painting technique to perform a frozen in time moment of life of the dynamic volume on the plane of the canvas. Maintaining the creative tradition of the great marinists of the past, V.I. Shilyaev filled his works with patriotic content of self-identification of the Russian Far East, developed the art of depicting legendary ships on an aesthetically irresistible sea wave. The author claims that the mixed improvisational technique of visualizing the constantly changing volume and color of the sea wave is V.I. Shilyaev's innovative contribution to the achievements of the Russian seascape painting school.
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Makatsariya, N. A. "About the image of mother with child in fine arts. Part III (final). XVIII–XXI centuries." Obstetrics, Gynecology and Reproduction 14, no. 4 (October 14, 2020): 539–43. http://dx.doi.org/10.17749/2313-7347/ob.gyn.rep.2020.159.
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Here, issues related to envisioning mother holding a child in fine arts of XVIII–XXI centuries are discussed. Paintings of Vigee-Le Brun, Bouguereau, Monet, Klimt, Renoir, Dali, Rivera, Picasso are represented as well as works of Russian artists Vasnetsov, Vrubel, Kustodiev, Chagall, and modern painters Hanks and Berggren
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Vasilieva, A. V., and V. A. Parfenov. "Identification of pigments of Russian icons by means of X-ray fluorescence spectroscopy." Journal of Physics: Conference Series 2086, no. 1 (December 1, 2021): 012172. http://dx.doi.org/10.1088/1742-6596/2086/1/012172.
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Abstract In this work the analysis of paint layers of Russian icons of the 16th-19th centuries was carried out by means of X-ray fluorescence spectroscopy. The data obtained on the elemental composition of pigments made it possible to identify them. Main problems of identification were described in this paper. The results of the research will be used to create a database of XRF-spectra of pigments, which were used by Russian icon painters of certain schools and time periods.
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Zakharova, Anna Vladimirovna, and Elena Sergeevna Dyatlova. "On the builders and painters active in Prilep, North Macedonia, in the late 13th сentury." Studia Slavica et Balcanica Petropolitana, no. 2 (28) (2020): 46–72. http://dx.doi.org/10.21638/spbu19.2020.204.
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The research was prepared with the financial support of Russian Science Foundation, grant no. 20-18-00294, at the Research Institute for Theory and History of Architecture and Town Planning, branch of the Central Research and Project Institute of the Construction Ministry of Russia (Moscow). The paper analyses the particularities of architecture and murals in the churches of St. Demetrius and St. Nicholas in Prilep, North Macedonia. Both churches were built and painted in several phases, which generated various views on their attribution and dating in the scholarly literature. The authors argue that the last rebuilding of St. Demetrius church was done by the same crew that finished the construction of St. Nicholas church between 1284 and 1298. Many specific traits indicate that these builders came to Prilep from the central regions of the Despotate of Epirus. Analyzing painting style the authors conclude that one or two local painters were responsible for the murals in the altar zones of the two churches. There are also wall paintings belonging to other layers in the both churches. The master who finished the painting in the church of St. Nicholas in 1298 could be of Epirote origine, although some traits of his style reveal the knowledge of local trends in the art of Macedonia too.
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Stavila, Tudor. "The themes of works of Bessarabian painters between 1888-1917." Arta 30, no. 1 (August 2021): 24–32. http://dx.doi.org/10.52603/arta.2021.30-1.03.
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The themes and subjects approached by the plastic artists, in a certain period of time, in a certain geographical space, including the names of the works, indirectly reflect the existing tendencies in the respective epoch. These moments are indisputable, regardless of the evolutions of art in various cultural environments, in the centers of international art or on its peripheries, objectively reflecting the styles and priorities of the time. Thus, realism operates with certain terms that define the options of the current, different from those of impressionism, expressionism, etc. The Bessarabian visual arts are no exception in this case. More refractory and more specific, the evolution of local culture was due to the historical situation of the land, ruled by the Tsarist Empire for a century, with the late emergence of professional art and the direct influences of Russian and Ukrainian itinerants’ realism characterized by special themes. But these trends were also marked by the emergence of non-conformist representatives of Russian art, such as Vladimir Falileev, Alexander Shevchenko, Nathan Altman, participants in Bessarabian salons in the early twentieth century. More eloquently, these renewals of local art occur after the internship of Eugenia Maleshevsci in Europe, the sporadic return to the homeland of Pavel Shilingovschi, but also the appearance in Bessarabia of a true representative of the new currents, such as Auguste Baillayre.
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Zanegina, A. B., V. K. Smolenskaya, E. N. Leventseva, and E. I. Mironova. "Disappearing nature. History, problems and prospects of representation of peasant labor in the paintings of Russian and soviet artists." Zemleustrojstvo, kadastr i monitoring zemel' (Land management, cadastre and land monitoring), no. 11 (October 10, 2021): 828–36. http://dx.doi.org/10.33920/sel-04-2111-04.
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Pavlovska, Elena. "A Unique Monument of Russian Book Culture." Serdica Journal of Computing 10, no. 2 (October 3, 2017): 125–32. http://dx.doi.org/10.55630/sjc.2016.10.125-132.
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This paper presents a project for the creation of digital andfacsimile copies of a unique monument of the Russian book culture– The Illuminated Chronicle Code of the 16th century – produced in a singlecopy by the order of Tsar Ivan the Terrible.The Illuminated Codecontains 10,000 handwritten sheets and more than 17,000 colorfulminiatures created by the bestRussian scribes and icon painters of thattime. The Code features a presentation of the Biblical history, abstractsof history ofAncient Rome and Byzantium, and the 400-year history of Russia, from 1114 till Ivan the Terrible’s death in 1584.The history ofthe creation of the Code, the contents of its parts (volumes), the fate ofthis monument of culture in timeshard for Russia, and the problemsfacing scholars when developing the project are briefly described.The execution of the projectof digitalization of the Chronicle Code and the creation of its facsimile copy have allowed not only tocollect its individual parts thatwere stored in various state repositories,but also to make this monument of culture available to scholars, specialists, library staff,schoolchildren and students in Slavic and other European countries.
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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 book went into nine editions, in three different translations. The patriarch of Russian liberal-nationalist criticism, Vladimir Stasov applied Nordau's metaphors to Russian “decadent” artists in such reviews as “Podvorl'e prokazhennykh” (Lepers’ inn, 1899) or “Dve dekadentskie vystavki” (Two decadent exhibitions, 1903). He sarcastically remarked that, when viewing canvases by some contemporary painters, he felt as though he were “walking amidst a madhouse.”
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Bella, Takushinova. "Parsuna – the first secular representation of the traditional Russian icon." Resourceedings 2, no. 3 (November 12, 2019): 1. http://dx.doi.org/10.21625/resourceedings.v2i3.618.
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The second half of the 15th century in the Russian Church history marked a strong decline of spiritual life, which naturally found its reflection in the icon painting. The feeling of integrity of an image, its depth were lost. At the same time, the weakening influence of the Orthodox Balkans and the Byzantine Empire gave way to the influence of the Catholic West with its profoundly different principles of religious art.In this transitional period of the Russian cultural life, characterized by the transformation of the medieval worldview and the formation of new artistic ideals, appeared parsuna (a rough Russian transliteration of the Latin word “persona”) - an early secular portrait of a lay person in the iconographic style that represents an important transition in Russia’s art history. The first pasruna were painted, most probably, by the iconographers of the Moscow Kremlin Armoury in the 17th century. The painters of these portraits were usually monks that tended to be anonymous, showing a humility.Although the stylized forms used in parsuna reveal a lack of concern with preserving the actual features of a person, but rather their overall image (special attributes and signatures allow to define represented), it still can be viewed as one of the very first attempts to look at person not only through the rigid iconographic canons, but also through a prism of psychological interpretation. Thus, this transitional image may be concerned as the initial fundamental step on the way to the further introduction fo the European portrait tradition in Russia.In this study, we would like to consistently trace how parsuna, thanks to its completely new stylistic value, can be considered one of the earliest stages on the way to the secularization of the Russian art in the early 17th century, which led to the separation from the strict iconographic religious canons and, consequently, to the rapprochement with the European art.
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Ivanova, Svetlana V. "New Russian Iconography “The Resurrection with the Descent into Hell”: Compositional Variations." Observatory of Culture 19, no. 3 (July 5, 2022): 318–26. http://dx.doi.org/10.25281/2072-3156-2022-19-3-318-326.
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The article deals with the iconography of the Easter holiday in Russia, specifically the image of “The Resurrection with the Descent into Hell”, common to the Russian art of the 17th—18th centuries. This image arises as a result of copying Western European engravings by Russian icon painters. The engravings illustrate the Apostles’ Creed — its fifth formula, which is different from the Orthodox one. In the Orthodox Creed, the fifth formula is called the Resurrection on the Third Day, in the Apostolic one — the Descent into Hell and the Resurrection. The Apostolic Creed is included in the Protestant Bibles, which turn out to be a source of new plots and compositions for Russian painters.In the process of its existence in Russian art, the new image of “The Resurrection with the Descent into Hell” is filled with additional plots, but most importantly, its main compositional scheme changes.The two main plots that make it up — the Descent into Hell and the Resurrection — are located on the icon field in different ways, depending on the interpretation of the painters or in strict accordance with the engraving model. Based on the location of the plots that make up the icon, there are distinguished compositional variants with either sequential or vertical arrangement of the plots. Within the first variant, there may be some subgroups: “The Descent into Hell” (whose topos is the underworld) is located below “The Resurrection” (whose topos is earthly space). We see that the iconographers correlate “The Descent into Hell” with the image of “Anastasis” (the Orthodox icon of the Resurrection). This follows from the way the location of the plots changed, when on older monuments — in contradiction with the composition of the engravings — “The Resurrection” had been located below.The most famous in Russian art is the vertical compositional version. The two plots are located strictly above each other, forming the central axis of the entire iconographic work, around which other storylines are added. In accordance with the Western European engravings, “The Resurrection” is located here in the upper register. These various modifications must be taken into consideration in order to understand both the genesis and the main content of the new iconography.
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Antonov, Dmitriy I. "FIGURES AND SIGNS. ON THE PRINCIPLES OF CREATING A “MICRO-NARRATIVE” IN RUSSIAN ICONOGRAPHY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2021): 36–54. http://dx.doi.org/10.28995/2686-7249-2021-7-36-54.
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The article considers the principles of constructing a “micronarrative” in Russian iconography. The author analyzes the functioning of subtle visual signs and small figures in well-known compositions. As the paper shows, with their help, icon-painters not only made numerous clarifications and nuances in the depicted scenes, but also created new motifs and autonomous “micro-stories”. The paper focuses mainly on the icons “The miracle of the icon ’Our Lady of the Sign’, or the Battle of Novgorodians with Suzdalians”. Analyzing a series of icons that have survived to this day or are known from sketches, the author shows how differently semiotically Russian masters built the common visual story and what new features appeared in various compositions. The most rich in signs icon was the one painted in the 1460-es and stored nowadays in the Novgorod Museum. Its creator denounces the aggressors-Suzdalians not only using general visual techniques, but also with the help of small, hardly noticeable signs and details that are clearly not aimed at the mass audience. Among other images considered in the article, that icon demonstrates clearly the high variability and plasticity of ‘visual texts’ of Russian iconography – the problematic that has rarely attracted attention by specialists
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Simic, Vladimir. "Politics, orthodoxy and arts: Serbian-Russian cultural relations in the 18th century." Muzikologija, no. 28 (2020): 79–98. http://dx.doi.org/10.2298/muz2028079s.
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The complicated political and cultural position of the Serbs who migrated to the Habsburg Monarchy in the early eighteenth century caused the rise of popularity of Russian rulers, who were recognized as protectors of the Orthodox against religious persecution. Political ties were accompanied by a strong Russification of Serbian culture, which was carried out through the mass procurement of Russian liturgical books and the arrival of many Russian teachers to Serbian schools. Ukrainian painters who came to the Metropolitanate of Karlovci brought new forms of baroque religious painting and introduced changes in the structure of the iconostasis. The cult of the Romanov dynasty among Orthodox Serbs in Hungary was amplified by their numerous portraits and engravings.
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Kukenkov, Valery. "Experience of Old Russian Icon-painters in the Training of an Artist-Teacher." Social and cultural space of Russia and abroad: society, education, language, no. 4 (2015): 114–18. http://dx.doi.org/10.17853/2312-3281-2015-4-114-118.
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Vorobyova, Natalia. "ALTAI STONE PALETTE IN “ALTAI IN THE WORKS OF SCIENTISTS AND TRAVELERS, THE 18TH – THE BEGINNING OF THE 20TH CENTURY” PUBLICATION PROJECT DESIGN (BARNAUL, RUSSIA; 2017)." Proceedings of Altai State Academy of Culture and Arts 4 (2020): 66–72. http://dx.doi.org/10.32340/2414-9101-2020-4-66-72.
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The article describes thought core of design made for publication project “Altai in the Works of Scientists and Travelers, the 18th the Beginning of the 20th Century” by Shishkov Altai Regional Universal Scientific Library (Barnaul, Russia), the basic element of which became colors and surface type of the Altaian semiprecious stones. Reproduction of little known pictural works made in portrait genre, rare landscape water-colors, esquisses by Russian and foreign painters lived around this time are also used in artistic design of five-volume issue. On the issue’s editorial board’s idea, selection of illustrations should help to a reader to trace a dynamics of interests took by domestic and foreign researchers and travelers in Altai.
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Galanova, Alexandra, Maria Lutsenko, and Jorge Zamorano. "Investments in Contemporary Russian Artwork as an Alternative Form of Investment." Journal of Corporate Finance Research / Корпоративные Финансы | ISSN: 2073-0438 14, no. 3 (September 30, 2020): 7–18. http://dx.doi.org/10.17323/j.jcfr.2073-0438.14.3.2020.7-18.
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In the last decades of the 20th century, various classes of alternative investments have become increasingly popular among investors. During this time, art as a form of alternative investment attracted attention not only from potential buyers but also from academic scholars. Unfortunately, only a few of the newly published papers contained any quantitative analysis with regard to art’s investment performance. Besides, even a smaller amount of research was devoted to the analysis of Russian art markets. Therefore, the purpose of this work is to evaluate the efficiency of investments in the artworks of contemporary Russian painters and to compare the effectiveness of these investments with the effectiveness of investments in stock, bond and real estate markets in Russia and the USA. For this research, we first conduct a hedonic regression analysis on the data available for 1950-2019 time period. After that, we build a hedonic price index for the canvases of contemporary Russian artists. According to the results, the trend of this index reiterates largely the price behavior for world contemporary art market. However, the results of this study indicate that investments in contemporary Russian art do not outperform investments in instruments of Russian and American capital and real estate markets. These results were derived by applying the CAPM model which demonstrated that Russian art as a form of alternative investment is not advisable for the purposes of diversification of investment portfolios. Based on these findings, contemporary Russian art in general can be considered an unattractive instrument for Russian and foreign investors.
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Dmitrijeva, Svetlana. "The depiction of warrior saints in frescoes of 1380 at the church of Our Saviour in Kovaliovo: Whether Balkan masters painted the Novgorod Church?" Zograf, no. 33 (2009): 121–35. http://dx.doi.org/10.2298/zog0933121d.
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This article examines the theme of warrior saints in the Kovaliovo fresco cycle, based on the archival photographs and frescoes assembled by the conservators. The analysis of the selection of warrior saints (including the seated figure of St. Demetrios), the arrangement of their figures in the overall iconographic programme, the separate iconographic characteristics of the frescoes and - finally - the style of painting, confirms that the Kovaliovo master-painters were not local nor were they Russian, but it obliges us to reject the theory that the Kovaliovo frescoes resemble the art of the Morava school in Serbia. It is feasible that the Kovaliovo painters came from one of the Balkan centers closely linked to Thessaloniki and within the tradition of Novgorodian monumental painting, the best Kovaliovo frescoes seem to bear the legacy of their great predecessor, Theophanes the Greek.
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Levina, Tatiana V. "UNCREATED LIGHT AND DAZZLING DARKNESS: BYZANTIUM OF AVANT-GARDE." Articult, no. 3 (2021): 40–55. http://dx.doi.org/10.28995/2227-6165-2021-3-40-55.
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Avant-Garde painters were amazed by fifteenth to sixteenth century “old style” Russian icons, which saw the light of the day in the early twentieth century after two centuries of prohibition. In the seventeenth century, ascetic had been replaced by “Western” mimetic images. Icons had a massive impact on Mikhail Larionov, the founder of Rayonism, who wrote that “Russian icon painters <…> were strongly drawn towards abstraction”. In 1913 he organized an exhibition of his Rayonnist paintings with rays of light reflected from objects. Kazimir Malevich was also influenced by icons. In his theoretical writings, he refers to Gospels. Launching his Suprematism at the “0,10 Exhibition” in 1915, Malevich placed his masterpiece in the “beautiful corner”, as an icon. Alexandre Benois said that the Black Square is a “cult of emptiness, darkness, ‘nothing’”. It will be justified that it was another type of darkness, connected to the concepts of “uncreated light” and “dazzling darkness” in Dionysius the Areopagite and Gregory Palamas’ theology. I refer to Pavel Florensky and Sergey Bulgakov’s philosophy to demonstrate how an application of Palamas’ theory, hesychasm, was reflected in fifteenth-sixteenth-century icon-painting and later in Avant-Garde theory and paintings, in particular by those of Larionov and Malevich.
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Cosma, Alina. "THE PICTURESQUE CAUCASUS. A GEOCRITICAL APPROACH." Годишник на Шуменския университет. Факултет по Хуманитарни науки XXXIIIA, no. 2 (November 10, 2022): 410–21. http://dx.doi.org/10.46687/kzqg6589.
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The concepts of space and place are key elements in analyzing a literary text from the perspective of geocriticism. The contribution of Edward W. Said in the development of spatially oriented cultural criticism is important, as his writing is a great resource for the geocritical studies. The imaginary of Caucasus has always drawn attention of different artists, poets and writers, especially in the romantic period, when it was a symbol of freedom and love. For the Russian society, the picturesque Caucasus represented the Orient and the exotic Other. This study focuses on the representations of Caucasus in the writings of M. Yu. Lermontov and A.S. Pushkin, as well as in the art of some painters from the romantic period up to present. We are interested in the relation between this space and the authors that wrote about it and the artists that painted it.
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Kleimola, Ann. "Regulating Icon Painters in the Era of the Ulozhenie: Evidence From the Russian North." Russian History 34, no. 1-4 (2007): 341–63. http://dx.doi.org/10.1163/187633107x00202.
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Enina, Ivetta A. "ARTISTIC FEATURES OF THE NORTHERN “WHITE NIGHT” MOTIF IN THE LANDSCAPES OF ALEXANDER BORISOV AND LOUIS APOL." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 77–87. http://dx.doi.org/10.36340/2071-6818-2021-17-5-77-87.
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The article examines the peculiarities of the color and light atmosphere of the phenomenon of white night in the Far North in the seascapes of the Russian and Northern European art. Attention is drawn to the period from the second third of the 19th century to the first quarter of the 20th century, when scientific and artistic exploration of the Arctic begins to take place on a regular basis. The article shows that the motive of the luminous night at the turn of the century appeared in connection with the appeal of artists to the study of natural contrasts of the Far North. Owing to the comprehending of the monotonous northern landscape, the palette of paintings was enriched with cold light shades of a lightair environment, the artists caught its special glow in the reflections in the water, ice floes and on the snow cover. The article mentions works of art by K. A. Korovin, V. A. Serov, V. V. Perepletchikov, N. V. Pinegin, A. A. Rylov and A. N. Benois, created during their participation in polar expeditions in late XIX and early XX centuries. Attention is drawn to the fact that the painters are branching out from marine pictorial art towards the study of special natural phenomena, such as images of light and dark polar nights, the northern lights, floating ice, fogs and snowy shores. It is carried out an art analysis and comparison of the works of the Russian “artist of eternal ice” Alexander Borisov and the Dutch “winter artist” Louis Apol, who were the first to depict such a phenomenon as a white night in the Far North. But their artistic interpretation of this phenomenon differs. A. Borisov perceives the North as a kind of “living” space in his own experience of figurative-symbolic comprehension of the world order, but at the same time does not lose touch with his realistic painting manner. And L. Apol impartially captures the surrounding nature, remaining in the principles of the features of compositional construction, which are characteristic of late romanticism. The European painter prefers muffled coloring, while on the canvas of the Russian artist, the paints literally ring and glow.
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Царева, Н. С. "Andrey Arestov — Altai impressionist of the 21st century." Iskusstvo Evrazii [The Art of Eurasia], no. 1(24) (March 30, 2022): 18–31. http://dx.doi.org/10.46748/arteuras.2022.01.002.
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Статья посвящена одному из ведущих алтайских живописцев Андрею Васильевичу Арестову (1956–2021), который всем своим творчеством продолжал традиции русского импрессионизма, зародившегося в России на рубеже XIX–XX веков. Художник выработал свою индивидуальную, узнаваемую манеру и снискал любовь многочисленных зрителей. Его работы, посвященные Алтаю, Санкт-Петербургу, Парижу, находятся в собрании Государственного художественного музея Алтайского края и в частной коллекции Андрея Ковалёва (г. Новосибирск). The article is devoted to one of the leading Altai painters Andrei Vasilievich Arestov (1956–2021), the artist, who continued the traditions of Russian impressionism, which originated in Russia at the turn of the 20th century. The artist developed his own individual, recognizable style and earned the love of numerous viewers. The artist's works dedicated to Altai, St. Petersburg, Paris are in the collection of the State Art Museum of Altai Krai and the private collection of Andrey Kovalev (Novosibirsk).
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Turlyun, L. N., and N. V. Frantseva. "TEXTILE ORNAMENT. EVOLUTION FROM BLOCK PRINTING TO COMPUTER TECHNOLOGIES." Arts education and science 1, no. 1 (2021): 157–63. http://dx.doi.org/10.36871/hon.202101018.
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The article is devoted to technologies of pattern printing on fabric. It provides a historical overview of the development of printing techniques, examines the main stages of this process in terms of technology innovation and evolution of technical means. It also systematizes the information available in the literature about traditional methods and new technologies for pattern printing on textile, technical means for implementing these technologies. Such concepts as block printing, manner, machine printing, flat and roll printing, direct printing, transfer printing, digital printing, photo printing are revealed. The authors also touch upon the history of the art of handicraft printing in Russia, emphasizing that the first Russian masters to apply images on fabric were icon painters, who decorated church interiors with ornamental patterns and created drawings for handwritten books. It is noted that mechanization became an important stage in the development of Russian textile industry, which significantly increased the speed of fabric production and its artistic design. The article reviews the main types of modern fabric printing techniques, as well as graphic editors for creating patterns and drawings. Advantages and disadvantages of modern digital technologies on textile are discovered.
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Mou, Yanlin. "The Innovative Development of Russian Modern Oil Painting under the Background of Internet of Things and Artificial Intelligence." Security and Communication Networks 2022 (May 26, 2022): 1–7. http://dx.doi.org/10.1155/2022/6110129.
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Contemporary Russian oil paintings have realized the inheritance and development of classical paintings. Although it is deeply influenced by European and American oil painting creations, it is commendable that it did not fully follow the creative framework of Western works, but realized the image of absorbing the essence of it and then integrating it into Eastern literature and art, and finally formed the integration of Chinese and Western oil paintings in Russian oil painting with a unique creative style. With the continuous development of science and technology, mankind has put forward higher-level requirements for nature, society, science, and technology, and many new things are rising in these aspects. As an emerging industry, Internet of things technology is becoming an important part of modern information technology. It can not only change the way and content of information dissemination and processing but also improve people’s quality of life and meet the growing material and cultural needs of the people. This paper first introduces the basic structure, style characteristics, and development process of Russian modern oil painting, then expounds the application of Internet of things technology and artificial intelligence technology, and then uses the method of questionnaire to investigate the innovation and development of Russian modern oil painting. Finally, the survey shows that senior students know more about Internet of things technology, while applied majors know more than non-applied majors. The grade that knows the least is freshmen, which is related to the degree of exposure to professional knowledge. Students majoring in Russian modern oil painting can share their painting experience through the Internet of things, learn online painting resources through the Internet of things, and add extra income to their part-time painters through the Internet of things. However, due to the Limited breeding technology of students, a small number of students can be part-time online painters, and most students use the Internet of things for knowledge input. Senior students majoring in Russian modern oil painting know more about artificial intelligence, and junior and sophomore students have a general understanding of this field. Through research, the team proposed the innovative development of modern Russian oil painting under the background of Internet of Things and artificial intelligence for reference, and formed our own oil painting creation style by integrating a variety of techniques.
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Kurbanovsky, Alexei Alexeyevich. "Freud, Tatlin, and the Tower: How Soviet Psychoanalysts Might Have Interpreted the Monument to the Third International." Slavic Review 67, no. 4 (2008): 892–906. http://dx.doi.org/10.2307/27653029.
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The first translations of Sigmund Freud's texts into Russian appeared in the early 1900s, and by the 1920s all important works were available; in Soviet Russia they stimulated wide discussion of various medical, pedagogical, and social problems as well as of developments in creative art. Alexei Kurbanovsky argues that “Freudianism” would have seemed very tempting to those early Soviet theorists who believed that they must appropriate the relevant discoveries of western psychology and adopt them for their own revolutionary ends: creating the “new communist man.” The application of Freudian techniques to the analysis of some classical Russian writers as well as painters is documented in writings from the 1920s by Ivan Ermakov; the artistic tendencies of the Russian avant-garde were quite often viewed as reflecting the latest achievements of science and technology. So aspiring Soviet critics might well have attempted psychoanalytical “readings“ of innovatory artifacts. Vladimir Tatlin stands as one of their possible model cases. Kurbanovsky argues that Tatlin's famous spiral tower could be psychoanalytically interpreted in reference to the Oedipal “refutation of father-figures.” Such an interpretation seems in tune with the general cultural climate where other phenomena (such as the October revolution) were seen as having a “hidden, Freudian aspect.” Examining the psychoanalytical underpinnings of the theory of Soviet avant-garde allows us to more fully appreciate its historical and cultural significance.
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Zlydneva, Nataliya. "Representation of Corpus Patiens in Russian Art of the 1920s." Arts 11, no. 5 (October 20, 2022): 105. http://dx.doi.org/10.3390/arts11050105.
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Similar to the Russian historical avant-garde of the 1910s, which predicted the war and the social revolution of 1917, the late avant-garde of the 1920s anticipated the advent of the totalitarian terror and the Stalinist repressions of the 1930s. In figurative painting, this manifested itself in a specific visual “lexicon” and modality (bodily violence and the fragmented body, frustration, motifs of loss, death and general catastrophe), as well as in the expressive style (that inherited but not duplicated the models of European expressionism). In addition to proposing an analytical classification of semantics and poetics of the painting of the 1920s, the present article discusses the issue of the representation of political power in visual art and the presence of archaic roots in the corpus patiens (lat.) motifs. It examines artefacts made by eminent as well as little-known painters of the late avant-garde, including Kazimir Malevich, Alexander Tyshler, Kliment Redko, Georgy Rublev, Aleksandr Drevin, Boris Golopolosov and others.
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Vroon, Ronald. "Vladimir Mayakovsky and Frank O’Hara: a Reappraisal." Studia Litterarum 5, no. 3 (2020): 144–85. http://dx.doi.org/10.22455/2500-4247-2020-5-3-144-185.
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The “New York School” refers to a group of poets and painters, mostly of the Abstract Expressionist movement, who congregated in New York in the first two decades following the end of the Second World War. They constitute a coterie that has been characterized as America’s “last avant-garde”. Among its most prominent members was Frank O’Hara (1926–1966). Like other members of the New York School of poets, he was strongly influenced by the French and Russian avant-garde movements of the early twentieth century. He was particularly drawn to the works of Vladimir Mayakovsky, whose persona and poetry are frequently referenced in his own oeuvre. The present study seeks to establish the origins of O’Hara’s interest in the Russian poet, the sources he consulted in familiarizing himself with Mayakovsky’s work, and the trajectory of references to Mayakovsky that documents how his avant-garde aesthetic both accommodates and distances itself from that of his Russian forebear.
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KULTASHEVA, Nigorakhon. "BAYAT MUKHTAROV AND HIS PLASTIC INNOVATIONS." Art and Design: Social Science 02, no. 01 (February 1, 2022): 6–8. http://dx.doi.org/10.37547/ssa-v2-i1-3.
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The article examines the work of the unique sculptor Bayat Mukhtarov. He is one of the first painters of Russian fine art to combine sculpture with conceptual art. He represented the modern artistic process and his work is positively perceived by many spectators and art critics. The world of his images, reflecting the historical and mythological theme of our time, with his lyricism evokes in the audience a sense of belonging to the forgotten past and values. The artist's works attract attention with their artistic originality, painting technique and make one think.