Relevant bibliographies by topics / Russian Portrait painters

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Academic literature on the topic 'Russian Portrait painters'

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

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Journal articles on the topic "Russian Portrait painters"

1

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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2

Abdullina, D. A. "Images of «educated children» in the Russian children’s portrait of the second quarter of the XIX century." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 152–58. http://dx.doi.org/10.30725/2619-0303-2020-4-152-158.

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In the field of Russian portraiture in the second quarter of the 19th century, a new «type» of children’s portrait images emerged, which the author conventionally calls «exemplary children». According to him, young models were portrayed as educational models for both the portrayed themselves and their peers and potential descendants. This «type» was formed at the junction of romantic ideas about the virtue of childhood, Christian ideals and, at the same time, growing realistic trends in art. It became widespread among both metropolitan and provincial portrait painters, which testifies to its compliance with the tastes and needs of the public of that time. The article examines portraits of children from the Tomilov families by A. G. Varnek and Kapnist, made by E. F. Krendovsky. They were created at the beginning and end of the specified time period, respectively, which allows tracing the development of the «type» in dynamics. Particular attention is paid to the ways in which the portraitists combined the images of real boys and girls, shown in the natural setting of home activities, with a complex spiritual and moral content. The latter was achieved through the use of the universal language of Christian symbolism, bold comparison of images of children with images of Christ, the Mother of God, angels and saints.
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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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4

Koshelev, Georgy, and Alexandra Spiridonova. "Alexander Melamid’s Portraiture of the 2010s." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 33–46. http://dx.doi.org/10.36340/2071-6818-2020-16-2-33-46.

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The article focuses on a comprehensive study of Alexander Melamid’s portraiture included in his first independent project after thirty years of collaborative creativity with Vitaly Komar. Throughout the entire thirty-year period of cooperation, the painters signed their works with the Komar and Melamid trademark making it difficult to determine the artists’ individual characters. A detailed analysis of the solo works of the 60-70s, before the beginning of collaborative creativity, is presented; it helps us to detect individual traits in the works of the duet and to better identify the artists’ personalities, to reconstruct the technical features of each artist’s painting style. In 2007, Alexander Melamid began creating a large-scale series of paintings which would become his new conceptual line of creative work; later, in 2009, the artist developed and supplemented the series with portraits of Italian clergy and Russian oligarchs. Characteristic features of the Holy Hip Hop! portrait series, exhibited at the Detroit Museum of Modern Art in 2008, are studied in the article. The artist paid special attention to the psychological characters of the portrayed, the entire series is painted in one color scheme, within one scale. The pictorial series is an integral conceptual statement. The purely plastic qualities of the paintings fade into the background. They are not so important for Alexander Melamid - he uses academic painting as a tool to convey more accurately the psychology of the portrayed whom he treats with ironic interest. It is important to note that Alexander Melamid erases the line between the classical and the marginal art, just as Francois Millet did in his time. The article succeeded in updating sociocultural issues with the help of contextual comparison with portraiture by Diego Velazquez and contemporary American artist Kehinde Wiley whose creative life has deeply integrated into the socio-political realities of the United States of the beginning of the 21st century and the African-American cultural tradition. Kehinde Wiley is known for his realistic large-scale portrayals of African-Americans in poses borrowed from works of classical European painting of the 17-19th centuries. The artist openly propagandizes, deliberately emphasizing the didactic function of his paintings. It is in the context of contemporaries’ works and the political situation in the USA of the 2000-2010s that Alexander Melamid’s work should be considered.
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5

Agafonov, Anatoly I. "Armorial Images on Portraits of the Military Ataman of the Don Army D. E. Efremov and Features of the Formation of the Southern Russian Nobility in the 18th Century." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 2 (210) (June 28, 2021): 23–34. http://dx.doi.org/10.18522/2687-0770-2021-2-23-34.

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The article is devoted to the study of the coat of arms on the portraits of the military ataman of the Don ar-my Danila Efremovich Efremov, the formation of the nobility in the southern outskirts of Russia. The first portraits of D. Efremov were painted in the Kiev-Pechersk Lavra and on the Don under the influence of the Polish, Malorussian and Russian artistic traditions. The painting of the coat of arms was based on the status of the military ataman D. E. Efremov, the award of the ranks of Major General and privy councilor, the acquisition of the nobility. The author characterizes the controversial issues of the origin of the portrait gallery of D. E. Efremov, and suggests a new dating of its painting based on the study of imperial grants, military and political events on the Don and in Russia. The composition and symbolism of the portraits are revealed, some anthropometric data of the military ataman are described, it is shown that the portraits of D. E. Efremov and his armorial images had a huge impact on the development of the Don ceremonial ataman and senior (starshina) portrait. It is stated and argued that the portrait from the Kiev-Pechersk Lavra in 1752 was preceded by other, not preserved works, from which “freeˮ copies were made. The latter can be independent creations. The author examines the government's attitude to the Don elder, the legal framework that regulated the sta-tus of the regional elite, individuals and positions.
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6

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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7

Popko, O. N. "Ceremonial portraits of Prince Peter Lvovich Wittgenstein in the context of his iconography." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 66, no. 3 (August 5, 2021): 333–42. http://dx.doi.org/10.29235/2524-2369-2021-66-3-333-342.

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The article is devoted to the study of three ceremonial portraits of Prince Peter Lvovich Wittgenstein, a general of the Russian army and the richest landowner in Belarus in the 19th century. Most of ceremonial portraits of 19th century military men were perished in the whirlwind of wars and revolutions of the 20th century. Finding each such work, even outside our country, is of great interest.The prince’s maternal ancestors were representatives of the most famous aristocratic family in the history of Belarus. His father was the son of a Russian field marshal, hero of the war with Napoleon. Prince Peter did not leave children, all of his portraits are now outside Belarus about the descendants of his sister and brother.The paintings were revealed by the author himself, have not been studied before.The earliest portrait dates from the 1850s. and represents the prince in the uniform of a junior officer of the Horse Guards Regiment. The author’s name is not known, there is a copy of J. N. Bernhardt. The next portrait was painted by an unknown artist around 1864. The latest portrait represents a prince in a general’s uniform, completed by the Austrian artist Z. L’Alleman in 1888 after the death of his hero. Two copies of this portrait are also kept in private collections of his descendants.The article presents descriptions of portraits and their copies, analysis of the history of creation and existence in the context of the prince’s biography and his iconography, through the prism of the Russian and European tradition of writing ceremonial portraits of government officials.
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8

Stepanian-Rumyantseva, Elena V. "The Literary Portrait from Pushkin to Dostoevsky." Dostoevsky and world culture. Philological journal, no. 4 (2020): 86–104. http://dx.doi.org/10.22455/2541-7894-2020-4-86-104.

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The article explores the peculiarities of literary portraits and studies the interconnections and contrasts between painted and written portraits. The recognizability of a portrait in pictorial art is attained not only through physical resemblance but also through “artistic deformations” that the author introduces to the appearance of the portrayed. In a literary portrait, identification is achieved both by verbal and plastic detailing and by addressing the reader’s inner experience and imagination. Traditionally, the literary portrait in the Russian literature of the 19th century is based mostly on plastic characteristics, comparisons, and color accents, and because of this, it is often defined as “pictorial”. However, portraits by Pushkin and Dostoevsky stand out as exceptionally original, as if created from a different material. Pushkin avoids detailing, instead, he presents a “suggestive” portrait, i.e., a dynamic outline of the personality. The reader’s imagination is influenced not by details, but rather by the dynamic nature of Pushkin’s characters. Dostoevsky does not inherit Pushkin’s methods, though he also turns to a dynamic principle in describing the heroes of his novels. When they first appear, he presents them as if from different angles of vision, and their features may often be in discord, which makes the reader sense a contradictory impact of their personalities, as well as of their portraits. This kind of portrait is a dynamic message, where the reader follows the hero along unexpected and contrasting paths that the author previously mapped for him. From the beginning to the very end of their works, these two classics of Russian literature present the human personality as a being in a state of life-long development, always changing and always free in its existential choice.
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9

Leigh, Allison. "Vasilii Maksimov: Individuality and Collectivism in Pëtr Krestonostsev’s Artel of Artists." Russian History 46, no. 4 (December 23, 2019): 262–75. http://dx.doi.org/10.1163/18763316-04604005.

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Abstract This essay explores the circumstances which led the Russian painter Vasilii Maksimov to compose an unusual group portrait in the early months of 1864. The work was painted shortly after fourteen students withdrew from the Imperial Academy of Arts in St. Petersburg and formed a cooperative association known as the St. Petersburg Artel of Artists, a commune spearheaded by the painter Ivan Kramskoi. Shortly after these events, Maksimov would join an Artel of artists established by the Academy graduate Pёtr Krestonostsev. Few scholars discuss this Artel but exploring the ways it mirrored collective ideals for artistic practice then prevalent in Paris sheds light on how homosocial networks of support rose to the fore in this historical moment. Maksimov’s 1864 group portrait records the productive conflict that resulted from artists’ desire to work with one another through discourse and collaboration in both eastern and western Europe in the period.
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10

Vu, Thuong Linh. "PORTRAIT OF THE CHARACTER PUGACHEV IN A.S. PUSHKIN’S NOVEL THE CAPTAIN’S DAUGHTER: FROM THE ORIGINAL TO THE TRANSLATION." UED Journal of Social Sciences, Humanities and Education 10, Special (September 27, 2020): 97–104. http://dx.doi.org/10.47393/jshe.v10ispecial.687.

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The novel The Captain's Daughter by Pushkin has been acknowledged by researchers as a prose encyclopedia about Russian life in the late 18th century. In this work, Pushkin proved himself not only a responsible historian, but also a talented portrait painter. This article is aimed at clarifying the art of creating the portrait of the character Pugachev in Pushkin's novel The Captain's Daughter. By making a comparison between the original and the translation by Professor Cao Xuan Hao, we have found that the translator has made fairly accurate depictions of the characters. However, there remain some limitations in the Vietnamese translation, including the incorrect translation of several portrait features of the characters and the omission of some details. These drawbacks, on the one hand, have reduced the expressiveness of the characters’ portraits; on the other hand, they have hindered the readers from fully perceiving the spirit of the original work.
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Books on the topic "Russian Portrait painters"

1

Kiprenskiĭ, Orest Adamovich. Li︠u︡di Aleksandrovskoĭ ėpokhi na portretakh O.A. Kiprenskogo. Edited by Perkin E. N. Moskva: Novyĭ kli︠u︡ch, 2004.

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Evangulova, O. S. Portretnai͡a︡ zhivopisʹ v Rossii vtoroĭ poloviny XVIII v. Moskva: Izd-vo Moskovskogo universiteta, 1994.

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Markina, L. A. Dmitriĭ Levit︠s︡kiĭ. Moskva: Belyĭ Gorod, 2001.

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Marie Bashkirtseff's life in self-portraits (1858-1884): Woman as artist in 19th century France. Lewiston, NY: Edwin Mellen Press, 2006.

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Akimova, Lidii︠a︡. Ekaterina Chernysheva. Moskva: Belyĭ gorod, 2006.

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Guerra, René. Images de Pouchkine: Portraits d'exil dans l'oeuvre des peintres russes émigrés en France, 1920-1970 : collection René Guerra. Issy-les-Moulineaux: Ville d'Issy-les-Moulineaux, 1999.

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Guerra, René. Images de Pouchkine: Portraits d'exil dans l'oeuvre des peintres russes émigrés en France, 1920-1970 : collection René Guerra. [Issy-les-Moulineaux: Ville d'Issy-les-Moulineaux, 1999.

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Komelova, Galina Nikolaevna. Russkai͡a︡ miniati͡u︡ra na ėmali XVIII-nachala XIX veka. Sankt-Peterburg: "Iskusstvo-SPB", 1995.

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1965-, Afonina Saĭda, ed. Saĭda Afonina. Moskva: Belyĭ gorod, 2010.

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Li︠u︡di Aleksandrovskoĭ epokhi na portretakh O. A. Kiprenskogo. Moskva: Novyĭ Kli︠u︡ch, 2004.

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Book chapters on the topic "Russian Portrait painters"

1

Werth, Paul W. "Introduction." In 1837, 1–8. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198826354.003.0001.

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To know Russia, you really have to understand 1837. That is the main message of this intriguing and unusual book. In ten chapters ranging from culture and ideas to empire and industry, it paints a rich and vivid portrait of the world’s largest country at a critical moment, when modern Russia acquired many of its most distinctive and outstanding features. Composers and poets, engineers and imperialists, philosophers and grand princes, peasants and camels, beards and potatoes—all make their appearance, and together they helped to forge the quiet revolution that changed Russia forever. Indeed, Russia is what it is today, in no small measure, because of 1837.
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