XVIII vek: Assambleja iskusstv: Vzaimodejstvie iskusstv v russkoj kulʹture XVIII veka
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и
m m
а г у
The Assembly of Arts
the collection is published according to the materials
of the academic conference
*The interaction of different forms of art in Russia during the
XVIII
and the beginning of the
XIX
century»
which was held in the State Institute of Art Research,
Moscow,
20-22
January
1999.
Chapter I
C O N C L USIA
I.I.Svirida
(The Russian Academy of Sciences)
Theatre as a synthesizing form of the culture of the XVIIIth century
The author of the article focuses on one of the most attractive phenomena of the
culture of the XVIIIth century, namely on the theatre. The author gives some examples of
the existence of this category within the context of the given epoch art life In its turn, it
enables her to treat the theatre as the base for the synthesis of arts which brings together the
art style, philosophy, thinking, behaviour, architectural and material environment.
N.V.Sipovskaia (The State Institute of Art Research)
Art for an occasion
The enviable role of art produced for events (decorations for festivities, banquet tables,
firework displays, processions and «pilgrimages», merry-go-rounds etc.) in the
XVIII
cen¬
tury forces us to revise our existing ideas about the hierarchy of the arts at that time. The
author establishes that the synthetic nature of these art forms answers the aspirations of the
age to present (simultaneously produce and perform) a model of a reconstructed world and
an enlightened public. However, the main point of the paper is the author s analysis of the
meaning of such art with respect to the understanding of «time», which was typical of the
XVIII
century. According to this understanding, all that is temporary (momentary) becomes
timeless and all that is constant (permanent) is destined to disappear in the inexorable flow
of time.
John Matthews, G.Z.Kaganov
CAESAR, SALVE. Tsar Peter and the Title of Emperor
The article in English is enclosed.
Chapter II
KUNSTSTUCK
O.S.Evangulova, I.V.Riazantsev
(Moscow State University and The Russian Academy of Arts)
The title and fate of a piece of art in Russia during the XVII-XIX centuries
This paper deals with matters which are important for explaining the original concept,
the creation and the life-story of pieces of art. The authors study two possible situations: the
first is when a title appears on a sculpture or on the back of a canvass or print; the second
is when there is no title on the artwork and it is sometimes necessary to establish it with the
aid of archival and
iconographie
material. The paper pays attention to the evolution of the
title from the
XVI
II to the XX century, from the detailed to the concise, from several phras¬
es or words to a few or even one word.
275
summary
G.G.Pospelov (The State Institute of Art Research)
Twin styles in New Age art
The period covering the
XVII
to the XX centuries was characterised by the appearance
of twin styles: in the
XVII
century it was baroque and classicism; in
XVIII
century Russia
it was «Gothic taste» and neo-classicism, followed by romanticism and classicism; and at
the beginning of the XX century it was symbolic modernism and a new interpretation of
neo-classicism. Baroque, romanticism and the modernist style were subject to the influence^
of time, whilst classicism represented permanence. This paper analyses the situation in
Russian art in the
1
740s to the 1760s, when the twin styles were the baroque of
Rastrelli
and
the early neo-classicism of Bazhenov (the Kremlin Palace).
N.A.Osminskaia (The Ostankino palace-museum)
The Cathedral of Knowledge in the ideal architecture of the
XVIII
century
The «Universal Museum» or the Cathedral of Knowledge are terms which could be
applied to the period in European art-collecting between the middle of the XV and the end
of the
XVIII
centuries. The latter half of the
XVI
century and the whole of the
XVII
cen¬
tury represents a time in which people wrote theoretical works about the museum.
According to these works, a combination of systematically arranged objects of natural and
human history should present an image of a harmonious and well-ordered
Universum.
Eighteenth-century European architects included the theme of the universal museum
amongst their work and it became one of the leading themes in architectural competitions.
The dominance of Roman architectural elements in competition entries for the Cathedral
of Knowledge, links the idea of the Universal Museum directly with the image of the
«Eternal City», which was considered throughout the classicist tradition to be the «One and
Only Cabinet of the World».
D.O.Shvidkovsky (The Russian Academy of Arts,
Research Institute for the Theory and History of Fine Art)
«The gardens of the
Diletanti»
The paper was devouted to the origin of the spiritual meaning of the landscape garden
and the role of the English «Society of the
Diletanti»
in its creation. The history of this soci¬
ety was described by the author on the basis of the matherials from the British archives. It
was in the gardens, which belonged to the Society, where the architectural language of the
British Enlightenment was elaborated. Stow and West Wycombe became models which
were followed in many estates in France, Germany, Russia during the second half of the
XVIII
century.
V.S.Turchin (Moscow State University)
The symbolism of flowers and plants in art on the edge of the XVIII-XIX centuries
This paper is subtitled «Poetry is the flowerbed of sensitive hearts» (N.M.Karamzin) and
consists of two interlinked parts. One of them looks at the allegorical use of floral motifs in
portrait paintings. In order to do this, the author refers to sentimental poetry and Russian
iconological lexicons (digressing, he points to the lack of a «Bouquet» theme). Further on,
he studies the symbol of the garden (based on an analysis of textbooks, instructions and
poetry), its style (the «Gothic taste» of rows of fir-trees and the neo-classicism of avenues
of lime). Masonic symbols are also mentioned.
S.V.Khachaturov (The State Institute of Art Research)
«Bird concerts» in the baroque and the Enlightenment
The author concentrates on images in F.Sneiders painting «The Bird Concert», which
was brought in
1779
to Catherine I I s enlightened residence from the «Gothic» castle of the
XVII
century English minister, Robert Walpole. Having studied the picture s iconography
276
summary
in detail and referring to literary, philosophical and aesthetic documents from two eras, the
author concludes that people of the baroque period understood «Bird Concerts» in the spir¬
it of neo-platonic symbolism. The educated
XVIII
century public viewed this subject dif¬
ferently, regarding it to be the ideal of a new «natural» social class and the model of a free
language stripped of convention.
S.V.Usacheva (The State
Tretiakov
Gallery)
Landscapes in interior design on the edge of the
XVIII—XIX
centuries
This article studies the existence of landscapes in interior design in the
XVIII
and at the
beginning of the XX centuries. The author used archival documents (inventories and regis¬
ters of art collections), descriptions of paintings and the way they were displayed, and mem¬
oirs. Based upon this material, the author makes conclusions about the decorative role and
content of various kinds of landscapes in the design of rooms in palaces and estates.
Usacheva analyses the artistic and figurative instruments by which the landscape scenes
unite the closed world of the interior with the natural world outside. She also examines how
these instruments reflect the tastes and character of the owners, and arouse different asso¬
ciations.
Chapter HI
PERSONA
A.Ivanitsky (Moscow State University)
The intimate portrait of the rococo.On the problem of the ontological necessity
of the «big style»
By using a wide methodical base, the candidate of the philological sciences analizes the
semantics of F.Rokotov s portraits from the viewpoint of the ontological grounds of the
rococo style. The author defines the rococo as the first «big style» which was based on self-
irony and which determined the birth of a personality capable and liable to give a critical
evaluation of its cultural stand.
T.L.Karpova (The State Institute of Arts, The State
Tretiakov
Gallery)
Johann-
Baptist
Lampi
the Elder: a kind of wandering ail-rounder artist
The wandering artist who could paint anything was typical of the cosmopolitan culture
of the
XVIII
century. These included
Lampi,
Vije-Lebrene, Angelika
Kaufman, Guttenbrun
and many other European artists who moved around in search of lucrative orders and benev¬
olent patrons. Russia was particularly blessed ground for this kind of artist, who played the
role of go-between in acquainting Russia with European fashion. This paper examines the
work of one of these artists, the Austrian painter
Lampi
the Elder
( 1751—1830),
who worked
in Russia during the last decade of Catherine s reign (October
1791 —
May
1797).
The
author analyses «the phenomenon of
Lampi»,
who was one of the most popular European
artists at the end of the
XVIII
century. She looks at a painter whose stay in Russia, accord¬
ing to N.Vrangel, «left a significant mark on the whole of school of Russian portrait paint¬
ing» and who «taught us more than any other foreigner who came to Russia».
l.Y.Putyatin (Moscow Architectural Institute)
«The portrait of V.I.Bazhenov within the family circle» and an ideal image
of the cathedral in the epoch of the classicism
The thorough study of «The portrait of V.I.Bazhenov within the family circle» from the
collection of the Moscow Museum of Architecture has enabled the author to come closer
to the decoding of its complicated
iconografica)
program.The architectural scheme in the
compositional center of the canvas becomes the clew to the comprehension of «The por-
277
summary
trait of V.I.Bazhenov within the family circlets conception
.
It is not only that it coincides
with the image of an ideal cathedral belonging to the Age of the Enlightenment, but at the
same time it helps to understand the sides of the «ideal architect»^ virtuous life (family, cre¬
ative and spiritual) whose core the cathedra] is.
S.V.Sergeev
Bazhenov and free-thinking in Moscow
This paper examines the personality of the architect V.Bazhenov within the context of
St.Petersburg and Moscow culture at the edge of the
XVIII—XIX
centuries. During Paul
I s
reign, the St.Petersburg style manifested itself in Muscovite culture thanks to «Paul s con¬
federates»: N.Sheremetev and A.Bezborodko. The so-called «knights» traditions were
characteristic of this style at the end of the century: merry-go-rounds, and «Gothic taste»
architecture (NAX vov s plan for the Moscow Kremlin, etc.). The author comes to the
conclusion that the first biography of Bazhenov by Evgenii Bolkhovitinov is very close in
character to the so-called «Paul s circle» buildings in Moscow.
E.E.Kikodze
Lafatere and his «Understanding of Human Characters».
This article examines one of the strangest works of the
XVIII
century, the author of
which proposed his own system of «Understanding the Human Character» by his facial fea¬
tures. Lafatere s life and his tragic death, the views he professed and his works are consid¬
ered to be a consequence of: a) the wrong way in which he posited the problem of man;
b) the writer s position on the existence of anthropological metaphysics and possibility of its
cognition due to the natural «text» of the human character written on one s face. The work
shows the viability of such a mistake and the many attempts to repeat Lafatere s experiences
in the XX century.
O.A.Sosnina (The State Museum of Decorative Art, Moscow)
The rhetorical figure or the «talking sculpture»
The paper highlights the close connection between
XVIII
century plastic art and rhetor¬
ical culture (mainly using the example of fine porcelain plastic art). The rhetorical «word»
was included within the structure of the image in the form of written text, but was latent,
like a literary programme. Furthermore, every sculptural image in the
XVIII
century was
supposed to reflect clearly and precisely the «mental state» and «feelings» of the subject
through his outer appearance (which could be compared to the «physiognomies» of
Lafatere), and thus transform itself into a «hieroglyphic of dumb poetry» (Derzhvin).
Moreover, at the end of the century, the enthusiasm for rhetoric gives rise to its opposite,
«the peculiar rhetoric of rejecting rhetoric»
(Lotman),
examples of which are the portraits
of Gudon and Shubin.
Chapter IV
A C TING
A.A.Aronova (State University for Humanitarian Studies)
Ail-Russian autocrat or ambassadorial volunteer: the paradox of one actor
Transitional periods in world history are ofien accompanied by «revolutionary»
sequences of events and behaviour. One probable example of this phenomenon is Peter the
Great s journey abroad as part of an ambassador s entourage. The Tsar joined the ambassa¬
dorial mission in disguise, under the name of a volunteer,
Petr Mikhailov.
Peter s action
was unprecedented in the history of Russian royalty and nobility. It produced many new
ideas and unexpected changes as the plot developed. Peter s one-and-a-half year stay
278
summary
abroad can by viewed as the text of a symbolic work of literature in which the author
—
the
Russian Tsar
—
embodied the preferable form of behaviour.
L.M.
Stankova
(The State Institute of Art Research)
The
XVIII
century: heroes of life and stage
One cannot talk about the
XVIII
century without mentioning its «theatrical nature». As
a historian of
XVIII
century theatre, I am interested not only in the influence of the the¬
atre on contemporary life, but also in the influence of life on the theatre. This requires a
comparison of real events with the kind of life portrayed in dramatic art. However, if we
examine plays from that time, we have a very close impression of everyday life and reality,
especially the private and intimate details of an individual s life. Archival documents, which
are often not linked with the theatre (for example, «The Case Concerning the Kidnap of the
Golosovaia Girl») can help us discover where the details of heroes of the stage coincide with
those of real-life heroes of the eighteenth century.
LALepskaia (The Ostankino palace-museum)
Sheremetov-Oslankino- Premiere
The Ostankino Theatre of count N.P.Sheremetev was opened on
22
July
1795
with the
staging of a lyrical drama by P.Potemkin to the music of O.KozIovskii, «Zel mira and
Smilon, or the Capture of Izmail». Sheremetev s dream of producing the lyrical tragedies of
Gluck
and his successors could not be fulfilled for many years, because the theatre lacked
a deep and well-equipped stage. When the Ostankino Theatre acquired such a stage, the
Count was able to put on A.Sakkini s lyrical tragedy «Reno» for its opening. Shortly before
the premiere, Sheremetev replaced Sakkini s play with a Russian lyrical drama dedicated to
Russia s victory in her war with Turkey. It repeated the subject matter of «Reno» almost
exactly and was full of patriotism, which was an important matter for Sheremetev when
opening the new theatre.
Chapter V
PROJECT
E.A.Borisova
(The State Institute of Art Research)
The Dutch house and the construction of «specimen buildings» in the
Petříne
era
This paper presents a comparative analysis of Dutch prototypes and the «specimen»
houses of the Petrine period. Despite the generally acknowledged influence of Holland on
the architecture of St. Petersburg during Peter s time, the similarity between the capital and
Amsterdam was fairly tentative. Amsterdam had a predominance of dense («medieval»)
multi-levelled houses with spires and steep roofs. St. Petersburg reproduced a new kind of
Dutch house, going back to Protestant classicism. Copying the latest developments in
Dutch architectural design during Peter s time, the architect D.Tresini built «specimen»
houses around the
1
720s on the banks of Vasiliev Island. The compact construction of iden¬
tical, two-storey, terraced houses corresponds to the usual building schemes in new areas of
Amsterdam at the end of the
XVII
century.
T.P.Kazhdan (The State Institute of Art Research)
K.I.Blank as an architect of the Moscow Kremlin
The article represents some unique archives documents which throw light on little known
facts of the creativity of Karl Blank, a Moscow architect of the second half of the XVIIIth
century. Had become a member of the architectural team of the Kremlin construction in
1775
K.I.Blank took part in the main building works carried out in the Kremlin, namely in
the repair and rebuilding of the Kremlin cathedrals, palaces, chambers, walls and towers.
279
summary
MAAlekseeva (The State Russian Museum)
From Makhaev to Alekseev (the enigmas of Moscow views
of the late
XVI
IHh
-
early XlXth centuries)
The author draws significant scientific conclusions as the result of his scrupulous
research of Moscow views made on the verge of the
XVIII—
XlXth centuries. Michael
Makhaev is recognized as the first Russian painter and
grafic
artist who managed to give a
thoughtover image of the ancient capital. Though at the present time we can not see the
drawings of Moscow made by M.I.Makhaev they were very popular with his successors-
veduttists who repeated his subjects. F.YAlekseev was one of the most famous artists who
was inspired in his work by M.Makhaev s drawings.
E.I.Kirichenko (The Russian Academy of Arts,
Research Institute for the Theory and History of Fine Art)
Catherine the Great s «Greek project» in the architecture of the Russian Empire. Potemkin
and New Russia
The «Greek project» was one of the most successful attempts to bring to reality the idea
of the historical mission that lay at the root of Russian national consciousness.
Τ
he politi¬
cal part of this plan was very much down to Potemkin: returning Constantinople and its
sacred things to the Christians was almost achieved. Russia became a Black Sea power.
Russians built towns, castles, ports, roads and gardens on theirs new lands. The architecture
of this new territory was being re-built to the glory of Russia s Minerva
—
Catherine the
Great. The south of the country was faced with becoming the New Greece and
Ekaterinoslav —Russia s third main city after St. Petersburg and Moscow
—
was faced with
becoming the New Athens and the New Rome simultaneously.
N-A-Luk ianov
Petr
Nikitin s Kaluga: the European context
The author analyses the developments before P.R.Nikitin s constructed his architectur¬
al ensemble in the city of Kaluga, and concludes that the architect completed an entire
artistic project. He carried it out in this town on the banks of the River Oka under the guid¬
ance of Governor-General M.Krechetnikov. The project also coincided with the masonic
ideas of V.Maikov, M.Kheraskov and M.Murav ev. The appearance of this «provincial»
town centre can be linked to antiquity, which is interpreted simultaneously in a pastoral and
monumental style with a strong element of theatricality. The hypothetical sources of inspi¬
ration for the project include the works of K.Lorren, S.Gesner, G.Piranesi, G.Roberre,
G.Valeriani, prints of masonic symbols and architectural sketches which contained the
plans for J.Wood the Elder s famous ensemble in Bath.
N
A.Evsina (The State Institute of Art Research)
The Fringe of the
XVIII-XIX
centuries in the development of Russian art
The fringe of the
XVIII—XIX
centuries was a very important period in European histo¬
ry. Its time barriers are quite large and very from country to country. Russia s «fringle» last¬
ed around two decades: the 1790s and the early 1800s. The generations changed during this
period. In many spheres of Russian culture, the main role was handed to those who were
born during the years in which Russian classicism flourished. Pushkin s birth was the last
wonder of the «century of miracles and invention». Studying the nation s heritage started to
assume a more important role.
N.
Karamzin wrote the first volumes of series of expeditions
were carried out to study ancient Russian history. It was a time of ambitious city-building
projects and the first Empire-style works, the latter style having strengthened the might of
the Russian Empire during the Napoleonic Wars.
280
|
| adam_txt |
5
и
m m
а г у
The Assembly of Arts
the collection is published according to the materials
of the academic conference
*The interaction of different forms of art in Russia during the
XVIII
and the beginning of the
XIX
century»
which was held in the State Institute of Art Research,
Moscow,
20-22
January
1999.
Chapter I
C O N C L USIA
I.I.Svirida
(The Russian Academy of Sciences)
Theatre as a synthesizing form of the culture of the XVIIIth century
The author of the article focuses on one of the most attractive phenomena of the
culture of the XVIIIth century, namely on the theatre. The author gives some examples of
the existence of this category within the context of the given epoch art life In its turn, it
enables her to treat the theatre as the base for the synthesis of arts which brings together the
art style, philosophy, thinking, behaviour, architectural and material environment.
N.V.Sipovskaia (The State Institute of Art Research)
Art for an occasion
The enviable role of art produced for events (decorations for festivities, banquet tables,
firework displays, processions and «pilgrimages», merry-go-rounds etc.) in the
XVIII
cen¬
tury forces us to revise our existing ideas about the hierarchy of the arts at that time. The
author establishes that the synthetic nature of these art forms answers the aspirations of the
age to present (simultaneously produce and perform) a model of a reconstructed world and
an enlightened public. However, the main point of the paper is the author's analysis of the
meaning of such art with respect to the understanding of «time», which was typical of the
XVIII
century. According to this understanding, all that is temporary (momentary) becomes
timeless and all that is constant (permanent) is destined to disappear in the inexorable flow
of time.
John Matthews, G.Z.Kaganov
CAESAR, SALVE. Tsar Peter and the Title of Emperor
The article in English is enclosed.
Chapter II
KUNSTSTUCK
O.S.Evangulova, I.V.Riazantsev
(Moscow State University and The Russian Academy of Arts)
The title and fate of a piece of art in Russia during the XVII-XIX centuries
This paper deals with matters which are important for explaining the original concept,
the creation and the life-story of pieces of art. The authors study two possible situations: the
first is when a title appears on a sculpture or on the back of a canvass or print; the second
is when there is no title on the artwork and it is sometimes necessary to establish it with the
aid of archival and
iconographie
material. The paper pays attention to the evolution of the
title from the
XVI
II to the XX century, from the detailed to the concise, from several phras¬
es or words to a few or even one word.
275
summary
G.G.Pospelov (The State Institute of Art Research)
Twin styles in New Age art
The period covering the
XVII
to the XX centuries was characterised by the appearance
of twin styles: in the
XVII
century it was baroque and classicism; in
XVIII
century Russia
it was «Gothic taste» and neo-classicism, followed by romanticism and classicism; and at
the beginning of the XX century it was symbolic modernism and a new interpretation of
neo-classicism. Baroque, romanticism and the modernist style were subject to the influence^
of time, whilst classicism represented permanence. This paper analyses the situation in
Russian art in the
1
740s to the 1760s, when the twin styles were the baroque of
Rastrelli
and
the early neo-classicism of Bazhenov (the Kremlin Palace).
N.A.Osminskaia (The Ostankino palace-museum)
The Cathedral of Knowledge in the ideal architecture of the
XVIII
century
The «Universal Museum» or the Cathedral of Knowledge are terms which could be
applied to the period in European art-collecting between the middle of the XV and the end
of the
XVIII
centuries. The latter half of the
XVI
century and the whole of the
XVII
cen¬
tury represents a time in which people wrote theoretical works about the museum.
According to these works, a combination of systematically arranged objects of natural and
human history should present an image of a harmonious and well-ordered
Universum.
Eighteenth-century European architects included the theme of the universal museum
amongst their work and it became one of the leading themes in architectural competitions.
The dominance of Roman architectural elements in competition entries for the Cathedral
of Knowledge, links the idea of the Universal Museum directly with the image of the
«Eternal City», which was considered throughout the classicist tradition to be the «One and
Only Cabinet of the World».
D.O.Shvidkovsky (The Russian Academy of Arts,
Research Institute for the Theory and History of Fine Art)
«The gardens of the
Diletanti»
The paper was devouted to the origin of the spiritual meaning of the landscape garden
and the role of the English «Society of the
Diletanti»
in its creation. The history of this soci¬
ety was described by the author on the basis of the matherials from the British archives. It
was in the gardens, which belonged to the Society, where the architectural language of the
British Enlightenment was elaborated. Stow and West Wycombe became models which
were followed in many estates in France, Germany, Russia during the second half of the
XVIII
century.
V.S.Turchin (Moscow State University)
The symbolism of flowers and plants in art on the edge of the XVIII-XIX centuries
This paper is subtitled «Poetry is the flowerbed of sensitive hearts» (N.M.Karamzin) and
consists of two interlinked parts. One of them looks at the allegorical use of floral motifs in
portrait paintings. In order to do this, the author refers to sentimental poetry and Russian
iconological lexicons (digressing, he points to the lack of a «Bouquet» theme). Further on,
he studies the symbol of the garden (based on an analysis of textbooks, instructions and
poetry), its style (the «Gothic taste» of rows of fir-trees and the neo-classicism of avenues
of lime). Masonic symbols are also mentioned.
S.V.Khachaturov (The State Institute of Art Research)
«Bird concerts» in the baroque and the Enlightenment
The author concentrates on images in F.Sneiders' painting «The Bird Concert», which
was brought in
1779
to Catherine I I's enlightened residence from the «Gothic» castle of the
XVII
century English minister, Robert Walpole. Having studied the picture's iconography
276
summary
in detail and referring to literary, philosophical and aesthetic documents from two eras, the
author concludes that people of the baroque period understood «Bird Concerts» in the spir¬
it of neo-platonic symbolism. The educated
XVIII
century public viewed this subject dif¬
ferently, regarding it to be the ideal of a new «natural» social class and the model of a free
language stripped of convention.
S.V.Usacheva (The State
Tretiakov
Gallery)
Landscapes in interior design on the edge of the
XVIII—XIX
centuries
This article studies the existence of landscapes in interior design in the
XVIII
and at the
beginning of the XX centuries. The author used archival documents (inventories and regis¬
ters of art collections), descriptions of paintings and the way they were displayed, and mem¬
oirs. Based upon this material, the author makes conclusions about the decorative role and
content of various kinds of landscapes in the design of rooms in palaces and estates.
Usacheva analyses the artistic and figurative instruments by which the landscape scenes
unite the closed world of the interior with the natural world outside. She also examines how
these instruments reflect the tastes and character of the owners, and arouse different asso¬
ciations.
Chapter HI
PERSONA
A.Ivanitsky (Moscow State University)
The intimate portrait of the rococo.On the problem of the ontological necessity
of the «big style»
By using a wide methodical base, the candidate of the philological sciences analizes the
semantics of F.Rokotov's portraits from the viewpoint of the ontological grounds of the
rococo style. The author defines the rococo as the first «big style» which was based on self-
irony and which determined the birth of a personality capable and liable to give a critical
evaluation of its cultural stand.
T.L.Karpova (The State Institute of Arts, The State
Tretiakov
Gallery)
Johann-
Baptist
Lampi
the Elder: a kind of wandering ail-rounder artist
The wandering artist who could paint anything was typical of the cosmopolitan culture
of the
XVIII
century. These included
Lampi,
Vije-Lebrene, Angelika
Kaufman, Guttenbrun
and many other European artists who moved around in search of lucrative orders and benev¬
olent patrons. Russia was particularly blessed ground for this kind of artist, who played the
role of go-between in acquainting Russia with European fashion. This paper examines the
work of one of these artists, the Austrian painter
Lampi
the Elder
( 1751—1830),
who worked
in Russia during the last decade of Catherine's reign (October
1791 —
May
1797).
The
author analyses «the phenomenon of
Lampi»,
who was one of the most popular European
artists at the end of the
XVIII
century. She looks at a painter whose stay in Russia, accord¬
ing to N.Vrangel, «left a significant mark on the whole of school of Russian portrait paint¬
ing» and who «taught us more than any other foreigner who came to Russia».
l.Y.Putyatin (Moscow Architectural Institute)
«The portrait of V.I.Bazhenov within the family circle» and an ideal image
of the cathedral in the epoch of the classicism
The thorough study of «The portrait of V.I.Bazhenov within the family circle» from the
collection of the Moscow Museum of Architecture has enabled the author to come closer
to the decoding of its complicated
iconografica)
program.The architectural scheme in the
compositional center of the canvas becomes the clew to the comprehension of «The por-
277
summary
trait of V.I.Bazhenov within the family circlets conception
.
It is not only that it coincides
with the image of an ideal cathedral belonging to the Age of the Enlightenment, but at the
same time it helps to understand the sides of the «ideal architect»^ virtuous life (family, cre¬
ative and spiritual) whose core the cathedra] is.
S.V.Sergeev
Bazhenov and free-thinking in Moscow
This paper examines the personality of the architect V.Bazhenov within the context of
St.Petersburg and Moscow culture at the edge of the
XVIII—XIX
centuries. During Paul
I's
reign, the St.Petersburg style manifested itself in Muscovite culture thanks to «Paul's con¬
federates»: N.Sheremetev and A.Bezborodko. The so-called «knights» traditions' were
characteristic of this style at the end of the century: merry-go-rounds, and «Gothic taste»
architecture (NAX'vov's plan for the Moscow Kremlin, etc.). The author comes to the
conclusion that the first biography of Bazhenov by Evgenii Bolkhovitinov is very close in
character to the so-called «Paul's circle» buildings in Moscow.
E.E.Kikodze
Lafatere and his «Understanding of Human Characters».
This article examines one of the strangest works of the
XVIII
century, the author of
which proposed his own system of «Understanding the Human Character» by his facial fea¬
tures. Lafatere's life and his tragic death, the views he professed and his works are consid¬
ered to be a consequence of: a) the wrong way in which he posited the problem of man;
b) the writer's position on the existence of anthropological metaphysics and possibility of its
cognition due to the natural «text» of the human character written on one's face. The work
shows the viability of such a mistake and the many attempts to repeat Lafatere's experiences
in the XX century.
O.A.Sosnina (The State Museum of Decorative Art, Moscow)
The rhetorical figure or the «talking sculpture»
The paper highlights the close connection between
XVIII
century plastic art and rhetor¬
ical culture (mainly using the example of fine porcelain plastic art). The rhetorical «word»
was included within the structure of the image in the form of written text, but was latent,
like a literary programme. Furthermore, every sculptural image in the
XVIII
century was
supposed to reflect clearly and precisely the «mental state» and «feelings» of the subject
through his outer appearance (which could be compared to the «physiognomies» of
Lafatere), and thus transform itself into a «hieroglyphic of dumb poetry» (Derzhvin).
Moreover, at the end of the century, the enthusiasm for rhetoric gives rise to its opposite,
«the peculiar rhetoric of rejecting rhetoric»
(Lotman),
examples of which are the portraits
of Gudon and Shubin.
Chapter IV
A C TING
A.A.Aronova (State University for Humanitarian Studies)
Ail-Russian autocrat or ambassadorial volunteer: the paradox of one actor
Transitional periods in world history are ofien accompanied by «revolutionary»
sequences of events and behaviour. One probable example of this phenomenon is Peter the
Great's journey abroad as part of an ambassador's entourage. The Tsar joined the ambassa¬
dorial mission in disguise, under the name of a volunteer,
Petr Mikhailov.
Peter's action
was unprecedented in the history of Russian royalty and nobility. It produced many new
ideas and unexpected changes as the plot developed. Peter's one-and-a-half year stay
278
summary
abroad can by viewed as the text of a symbolic work of literature in which the author
—
the
Russian Tsar
—
embodied the preferable form of behaviour.
L.M.
Stankova
(The State Institute of Art Research)
The
XVIII
century: heroes of life and stage
One cannot talk about the
XVIII
century without mentioning its «theatrical nature». As
a historian of
XVIII
century theatre, I am interested not only in the influence of the the¬
atre on contemporary life, but also in the influence of life on the theatre. This requires a
comparison of real events with the kind of life portrayed in dramatic art. However, if we
examine plays from that time, we have a very close impression of everyday life and reality,
especially the private and intimate details of an individual's life. Archival documents, which
are often not linked with the theatre (for example, «The Case Concerning the Kidnap of the
Golosovaia Girl») can help us discover where the details of heroes of the stage coincide with
those of real-life heroes of the eighteenth century.
LALepskaia (The Ostankino palace-museum)
Sheremetov-Oslankino- Premiere
The Ostankino Theatre of count N.P.Sheremetev was opened on
22
July
1795
with the
staging of a lyrical drama by P.Potemkin to the music of O.KozIovskii, «Zel'mira and
Smilon, or the Capture of Izmail». Sheremetev's dream of producing the lyrical tragedies of
Gluck
and his successors could not be fulfilled for many years, because the theatre lacked
a deep and well-equipped stage. When the Ostankino Theatre acquired such a stage, the
Count was able to put on A.Sakkini's lyrical tragedy «Reno» for its opening. Shortly before
the premiere, Sheremetev replaced Sakkini's play with a Russian lyrical drama dedicated to
Russia's victory in her war with Turkey. It repeated the subject matter of «Reno» almost
exactly and was full of patriotism, which was an important matter for Sheremetev when
opening the new theatre.
Chapter V
PROJECT
E.A.Borisova
(The State Institute of Art Research)
The Dutch house and the construction of «specimen buildings» in the
Petříne
era
This paper presents a comparative analysis of Dutch prototypes and the «specimen»
houses of the Petrine period. Despite the generally acknowledged influence of Holland on
the architecture of St. Petersburg during Peter's time, the similarity between the capital and
Amsterdam was fairly tentative. Amsterdam had a predominance of dense («medieval»)
multi-levelled houses with spires and steep roofs. St. Petersburg reproduced a new kind of
Dutch house, going back to Protestant classicism. Copying the latest developments in
Dutch architectural design during Peter's time, the architect D.Tresini built «specimen»
houses around the
1
720s on the banks of Vasiliev Island. The compact construction of iden¬
tical, two-storey, terraced houses corresponds to the usual building schemes in new areas of
Amsterdam at the end of the
XVII
century.
T.P.Kazhdan (The State Institute of Art Research)
K.I.Blank as an architect of the Moscow Kremlin
The article represents some unique archives documents which throw light on little known
facts of the creativity of Karl Blank, a Moscow architect of the second half of the XVIIIth
century. Had become a member of the architectural team of the Kremlin construction in
1775
K.I.Blank took part in the main building works carried out in the Kremlin, namely in
the repair and rebuilding of the Kremlin cathedrals, palaces, chambers, walls and towers.
279
summary
MAAlekseeva (The State Russian Museum)
From Makhaev to Alekseev (the enigmas of Moscow views
of the late
XVI
IHh
-
early XlXth centuries)
The author draws significant scientific conclusions as the result of his scrupulous
research of Moscow views made on the verge of the
XVIII—
XlXth centuries. Michael
Makhaev is recognized as the first Russian painter and
grafic
artist who managed to give a
thoughtover image of the ancient capital. Though at the present time we can not see the
drawings of Moscow made by M.I.Makhaev they were very popular with his successors-
veduttists who repeated his subjects. F.YAlekseev was one of the most famous artists who
was inspired in his work by M.Makhaev's drawings.
E.I.Kirichenko (The Russian Academy of Arts,
Research Institute for the Theory and History of Fine Art)
Catherine the Great's «Greek project» in the architecture of the Russian Empire. Potemkin
and New Russia
The «Greek project» was one of the most successful attempts to bring to reality the idea
of the historical mission that lay at the root of Russian national consciousness.
Τ
he politi¬
cal part of this plan was very much down to Potemkin: returning Constantinople and its
sacred things to the Christians was almost achieved. Russia became a Black Sea power.
Russians built towns, castles, ports, roads and gardens on theirs new lands. The architecture
of this new territory was being re-built to the glory of Russia's Minerva
—
Catherine the
Great. The south of the country was faced with becoming the New Greece and
Ekaterinoslav —Russia's third main city after St. Petersburg and Moscow
—
was faced with
becoming the New Athens and the New Rome simultaneously.
N-A-Luk'ianov
Petr
Nikitin's Kaluga: the European context
The author analyses the developments before P.R.Nikitin's constructed his architectur¬
al ensemble in the city of Kaluga, and concludes that the architect completed an entire
artistic project. He carried it out in this town on the banks of the River Oka under the guid¬
ance of Governor-General M.Krechetnikov. The project also coincided with the masonic
ideas of V.Maikov, M.Kheraskov and M.Murav'ev. The appearance of this «provincial»
town centre can be linked to antiquity, which is interpreted simultaneously in a pastoral and
monumental style with a strong element of theatricality. The hypothetical sources of inspi¬
ration for the project include the works of K.Lorren, S.Gesner, G.Piranesi, G.Roberre,
G.Valeriani, prints of masonic symbols and architectural sketches which contained the
plans for J.Wood the Elder's famous ensemble in Bath.
N
A.Evsina (The State Institute of Art Research)
The Fringe of the
XVIII-XIX
centuries in the development of Russian art
The fringe of the
XVIII—XIX
centuries was a very important period in European histo¬
ry. Its time barriers are quite large and very from country to country. Russia's «fringle» last¬
ed around two decades: the 1790s and the early 1800s. The generations changed during this
period. In many spheres of Russian culture, the main role was handed to those who were
born during the years in which Russian classicism flourished. Pushkin's birth was the last
wonder of the «century of miracles and invention». Studying the nation's heritage started to
assume a more important role.
N.
Karamzin wrote the first volumes of series of expeditions
were carried out to study ancient Russian history. It was a time of ambitious city-building
projects and the first Empire-style works, the latter style having strengthened the might of
the Russian Empire during the Napoleonic Wars.
280 |
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| spelling | XVIII vek: Assambleja iskusstv Vzaimodejstvie iskusstv v russkoj kulʹture XVIII veka Rossijskaja Akademija Nauk Gosudarstvennyj Institut Iskusstvoznanija Ministerstva Kulʹtury RF. [Red.: N. A. Evsina ...] Moskva Pinakoteka 2000 280 S. Ill, Kt. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., russ. - Zsfassung in engl. Sprache Geschichte 1700-1800 gnd rswk-swf Wechselwirkung (DE-588)4064937-4 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Russland (DE-588)4076899-5 gnd rswk-swf (DE-588)1071861417 Konferenzschrift 1999 Moskau gnd-content Russland (DE-588)4076899-5 g Kunst (DE-588)4114333-4 s Wechselwirkung (DE-588)4064937-4 s Geschichte 1700-1800 z DE-604 Evsina, Natalʹja A. Sonstige oth Rossijskij Naučno-Issledovatelʹskij Institut Iskusstvoznanija (Moskau) Sonstige (DE-588)5094574-9 oth Digitalisierung UB Bamberg application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016791896&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | XVIII vek: Assambleja iskusstv Vzaimodejstvie iskusstv v russkoj kulʹture XVIII veka Wechselwirkung (DE-588)4064937-4 gnd Kunst (DE-588)4114333-4 gnd |
| subject_GND | (DE-588)4064937-4 (DE-588)4114333-4 (DE-588)4076899-5 (DE-588)1071861417 |
| title | XVIII vek: Assambleja iskusstv Vzaimodejstvie iskusstv v russkoj kulʹture XVIII veka |
| title_auth | XVIII vek: Assambleja iskusstv Vzaimodejstvie iskusstv v russkoj kulʹture XVIII veka |
| title_exact_search | XVIII vek: Assambleja iskusstv Vzaimodejstvie iskusstv v russkoj kulʹture XVIII veka |
| title_exact_search_txtP | XVIII vek: Assambleja iskusstv Vzaimodejstvie iskusstv v russkoj kulʹture XVIII veka |
| title_full | XVIII vek: Assambleja iskusstv Vzaimodejstvie iskusstv v russkoj kulʹture XVIII veka Rossijskaja Akademija Nauk Gosudarstvennyj Institut Iskusstvoznanija Ministerstva Kulʹtury RF. [Red.: N. A. Evsina ...] |
| title_fullStr | XVIII vek: Assambleja iskusstv Vzaimodejstvie iskusstv v russkoj kulʹture XVIII veka Rossijskaja Akademija Nauk Gosudarstvennyj Institut Iskusstvoznanija Ministerstva Kulʹtury RF. [Red.: N. A. Evsina ...] |
| title_full_unstemmed | XVIII vek: Assambleja iskusstv Vzaimodejstvie iskusstv v russkoj kulʹture XVIII veka Rossijskaja Akademija Nauk Gosudarstvennyj Institut Iskusstvoznanija Ministerstva Kulʹtury RF. [Red.: N. A. Evsina ...] |
| title_short | XVIII vek: Assambleja iskusstv |
| title_sort | xviii vek assambleja iskusstv vzaimodejstvie iskusstv v russkoj kulʹture xviii veka |
| title_sub | Vzaimodejstvie iskusstv v russkoj kulʹture XVIII veka |
| topic | Wechselwirkung (DE-588)4064937-4 gnd Kunst (DE-588)4114333-4 gnd |
| topic_facet | Wechselwirkung Kunst Russland Konferenzschrift 1999 Moskau |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016791896&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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