Verfügbarkeit: Tri veka poiskov i dostiženij

Tri veka poiskov i dostiženij: otečestvennoe iskusstvo XVIII-XX vekov = Three ages of search and achievements - Russian art of XVIII-XX centuries

Три века поисков и достижений отечественное искусство XVIII-XX веков

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Bibliographische Detailangaben
Weitere Verfasser:	Gribonosova-Grebneva, Elena Vladimirovna 1965- (HerausgeberIn), Širokova, L. V. (HerausgeberIn)
Format:	Buch
Sprache:	Russian
Veröffentlicht:	Moskva BuksMArt 2020
Ausgabe:	Naučnoe izdanie
Schlagworte:	Geschichte 1700-2000 Kunst Sowjetunion Russland Aufsatzsammlung
Online-Zugang:	Inhaltsverzeichnis Inhaltsverzeichnis Abstract
Beschreibung:	181 Seiten Illustrationen
ISBN:	9785907043503

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Datensatz im Suchindex

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Kandinsky’s Works................................................................................................12 Koshkina O.Y. G.Y. Dlugach’s “Hermitage School”: Art as an Interpretation of Old Masters............................................................................. 16 Sedova I.N. Sculptures as Symbols. Space Sacralization...................................................................................................................................20 Romanova V.V. New Plots in the Soviet Underground Art........................................................................................................................................ 24 Krylova A.A. The Evolution of Assemblage in Russian Avant-garde Art of the First and the Second Wave..................................................... 29 Koroleva O.A. The Creative Method of “Jack of Diamonds’” Artists: Realistic Avant-Garde, or Avant-Garde of Realism ................... 33 CHAPTER 2 The Search and the Progress of Russian Art of the XVIII-XX Centuries: Theory, Practice, Issues................................... 37 Krivdina O.A. To the Study of the Artistic Legacy of M.G. Krylov, Sculptor (1786-1946) ........................................................................38 Kalugina O.V. Monumental Sculpture in Russia’s Time of Historicism: The Peculiarities of Images and Composition................................... 42 Trenikhin M.M. “Vrubel’s Diversity of Color”. The Ornamental Beginning Around the Turn of the XX Century in the Ceramics and Porcelain by Nina Pavlovna Polynskaya .................................................................................................................................. 47 Korvatskaya E.S. The Pre-Revolutionary Book Graphics by Alexey Nikanorovich Komarov (1879-1977) ..................................................... 51 Krupnova M.D. To the Subject of the Origins of the Indoor Sculpture: “The Monument to the Peter the Great”, and the Wooden Plastic of the XVIII Century in Russia .................................................................................................................................. 55 Korobtsova S.S. V.A. Beklemishev’s Monumental Art in the Conditions Of the Search for the New Moscow Sculpture Representatives at the Turn of the XIX-XX Centuries as an Example of Following Traditions..............................................................................58 Guseva A.S. The Russian-Bashkir Friendship Monument in Ufa by M.F. Baburin.............................................................................................62 180 CHAPTER З The Diversity of The Genres Of Visual Art in The Russian Regions............................................................................................ 65 Plieva M.G. Modern Monumental Painting of Orthodox Churches in Alania and the Republic of South Ossetia................................... 66 Kober 0.1. The Identity of “The Orenburg School” of Painting........................................................................................................................ 69 Philippov A.E. The Monumental Propaganda in the Streets of Krasnodar: The History of the Style in the Monuments of the Soviet Time........73 Gerasimova A.A. Vladimir Kapelko. Siberian Primitivism ....................................................................................................................................76 Appaeva Z.M. The Visual Art of Kabardino-Balkaria. In the Time Frame.............................................................................................................. 78 Belousova-Lebedeva V.A. The Siberian Landscape: Topography, or an Artistic Phenomenon .......................................................................................... 83 Legotina A.V. On the Way to the New Architecture: 1914 and the Yuzhno-Uralsk Modern................................................................................ 87 Kushnareva A.V. Self-Portrait in the Art of Yuri Deev..................................................................................................................................................90 CHAPTER4 History as a Factor of the Search And the Achievements of the Russian Visual Art of the XVIII-XX Centuries...92 Kolmogorova E.E. On the Image of a Wife And Mother in the Russian Portrait of the Second Half of the XVIII Century ֊ the Early XIX Century ...93 Philippova O.N. The Landscape in M.I. Lebedev’s Art (1811-1837).......................................................................................................................... 97 Skvortsov-Peterskiy A.V. The Style Concepts of the End of the XVII Century ֊ the Early XVIII Century in the Context of Literature and Monumental Painting...............................................................................................................................................................101 Otdelnova V.A. The Exhibitions of “Group 16” in the Context of the Moscow’s Artistic Life of 1960-1970s................................................... 105 Sirenko A.S. The Cimmerian School of Painting ............................................................................................................................................110 Borisova A.A. The Evolution of the Industrial Subject in Russian Art. Series of Miners by N.A. Kasatkina (1890-1920s) .........116 Titova E.A. The Image of the Contemporary in M.V. Nesterov’s Art. A Huge Artist’s Legacy.........................................................................120 Levina N.O., Razuev I.K. The Artist and the Time. The Art of I.K. Aivazovsky, and His Epoch...........................................................................................124 CHAPTER 5 Modern Artistic Practices: The Search and Result ............................................................................................................128 Tomson O.I. Modern Art, and The Means of Communication............................................................................................................................129 Parygin A.B. The Avant-Garde in the Teaching System of the Environmental Design............................................................................133 Gribonosova-Grebneva E.V. The Search for the Classical in Experimental Post Soviet Russian Art. “The Body” Genre ................................... 137 181 Rytikova V.V. Leningrad’s Sculptor Leonid Eidlin 143 Zahurína A.B. Redesign, and Design of a Public Library as a Significant Aspect in Understanding the Discourse of Urban Spaces, and Creating a New Scenario of Citizens’ Behavior ............................................................................................................... 147 CHAPTER 6 Russian Art, and the Interaction With the West: The New Discoveries ..................................................... 150 Agratina E.E. Giuseppe Valeriani in Russia. The Works of Theatrical Decoration......................................................................................... 151 Usova E.A. Konstantin Pavlovich Kuznetsov. A Russian That Is One of Us ................................................................................................... 156 Gladkaya Y.A. Abstract Expressionism in San Francisco. Clyfford Still and the Russian Context.................................................................... 158 Sakovskaya E.V. The European Technical Graphics of the XV-XVII Centuries as a Visual Source for the Manuscript’s Illustrations “Abrisi” (1735) by W. Hennin. To the Subject of the Authorship ...................................................................................................... 161 Dokuchaeva A.V. The Evolution of Russian Painting in the Context of the Russian-French Art Connections in 1920-1930s: Facts, Practice, and Issues.............................................................................................................................................................. 164 Vikhreeva N.V. The Soviet Historical Context and the Brazilian Modernism: Socialist Art of the 1930s by Tarsila do Amaral and Di Cavalcanti.......................................................................................... 169 Authors.................................................................................................................................................................................................174 Authors in English ...........................................................................................................................................................................176 Summary ............................................................................................................................................................................................ 178 bays Staeun Mur Summary This work, dedicated to the innovativeness of Russian art, dating back to Peter the Great’s reign, and up to the present day, also includes texts, written mainly by young speciahsts, and experienced, seasoned researchers. The core purpose of this publication is to present the various range of problems in the history of Russian modern and contemporary art in Moscow, and other regions of Russia, and explore how Russian art had interacted with foreign art. Therefore, the book consists of six parts, dedicated to the theory, practice, art of that period itself, its meaning, the subjects it covered, etc. The first chapter of this book starts with an article by Doctor of Art History, B. Sokolov, dedicated to the analysis of cosmogonic motives in the works of V.V. Kandinsky, an abstract artist, whose art was constantly changing throughout his whole life. 0. Koroleva marks a fascinating period of the art of Saint Petersburg of the 1960-1970s, “the school of Hermitage” of Petrov-Vodkin’s student, G.Y.Długach. Długach adhered copying and interpreting the paintings of the past. I. Sedova, who heads the department of sculpture at The Tretyakov Gallery, observes specific examples of how sacralization of space by the means of monumental plastic of the Soviet and post-soviet times, examining the works of I.M. Rukavishnikov, V.E. Tsigal, A.I. Rukavishnikov. V. Romanova and, A. Krylova, 0. Koshkina explore the Russian avant-garde of the first wave and the second wave, related to the art of the Soviet Underground, the theory and practice of assemblage in avante-garde, “Jack of Diamonds” group that based their art on the mix of the realism and avante-garde. The scientific content of the second chapter, related to certain periods of time and achievements of Russian art of the XVIII-XX centuries, is dedicated to the evolution of the monumental, indoor, decorative sculpture, and book graphics. Doctor of Art History, 0. Kalugina, has focused on the monumental Russian plastic, analyzing its images, and compositions in the works of I. P. Vitali, N.S. Pimenov Jr, P.K. Klodt. A Candidate of Art History, M.M. Trenikhin, uses ceramics and porcelain stored in Tsaritsyno Palace as evidence of how these items are similar to Vrubel’s decorative works of the beginning of the XX century, noting the uniqueness of the ceramist. The young employees of the Tretyakov Gallery, M. Krupnova and S. Korobtsova, highlight the problems of the origins of Russian wooden plastic in the XVIII century evidence from Smolensk’s “Portrait of Peter the Great on a horse”, and the evolution of the monumental art of V.A. Beklemishev, who correlated to the art traditions of the past. A young researcher, A. Guseva, has also studied the Russian-Bashkir Friendship Monument in Ufa, built in 1965 upon the project of a Moscow sculptor, M.F. Baburin, whose art and teaching experience at the Surikov Institute are only now being studied. In this chapter, there is an article written by a young art historian from Saint Petersburg, E. Korvatskaya, that covers the pre-revolutionary book graphics of a famous illustrator of children’s books, A.N. Komarov, printed in the publishing houses of I.D. Sytin, and I.D. Stypin. The subject of art genre diversity has become the most significant part of the third chapter of the book. The various genres of Russian art are mainly highlighted by young specialists of various cities and regions of Russia. A North Ossetian Candidate of Art History, M. Plieva, analyzes iconographie scenes in the monumental and easel painting of the Ossetian contemporary and previous centuries’ art. She has emphasized the close interaction between the Ossetian and Byzantine art. 0. Kober’s article includes the peculiarities of the evolution of the Orenburg painting “school” that correlates to the change of art in the 1960s. A Candidate of Art History from Kuban State University, A. Philippov, analyzes the propaganda depicted in the urban space of Krasnodar, studying the remaining and ruined monuments of the early 1920s in the Soviet Union. Young researchers, A. Gerasimova, and V. Belousova-Lebedeva, are two fine art experts. The works of a famous Siberian artist of the final third of the XX century, Vladimir Kapelko, are reviewed in Gerasimova’s text. Vladimir Kapelko is an example of a Siberian artist working in the genre of primitivism. The second text is on the comprehension of the phenomenon of the Siberian landscape, which is analyzed in the light of the controversial connection of the topographical and the artistic features. A. Legotina, a young specialist from Cheliabinsk, has written an article on the South-Ural modern architecture of 1914. A. Kushnareva, a researcher from Saint Petersburg, has written a text about salient 178 features, and the portrait concept of a Siberian naive artist, Yurii Deev, who was a shining representative of Siberian art. In this chapter, there is also a paper by Z. Appaeva. She has concentrated on the development of the plastic art system of Kabardino-Balkaria, based on using ornament traditions, and representing figurative tendencies. The scientific content of the fourth chapter is on the social and historical realities that was a significant factor of the search and achievements of the modern and contemporary Russian art. It is essential to highlight the texts of the young researchers from Moscow. E. Kolmogorova gives an interesting talk on the image of a woman and a mother in Russian portrait of the second half of the XVIII century and the beginning of the XIX century, writing about the famous and lesser-known artists. A. Sirenko tells of the phenomenon of the Cimmerian art school, presented by K.F. Bogaevsky, M.A. Voloshin, M.P. Latri. A. Borisova analyzes the evolution of the subject of the industrial age in the art of the end of the XIX century and the first decades of the XX century evidence from a late peredvizhnik, N.A. Kasatkin. E. Titova gives an image of the contemporary in the portraits of M.V. Nesterov, interpreting his huge artistic legacy. The subject of a landscape, in the paintings of a XIX century landscape painter, M.I. Lebedev, is described in an article by 0. Philippova. N. Levina and A. Razuvaev have observed the art of I.K. Aivazovsky and the epoch of the artist. The chapter also covers the topic of the exhibitions. A. Skvortsov-Petersky explores the works by LE. Grabar, B.R. Vipper, M.V. Alpatov, and other researchers of the end of the XVII century and the beginning of the XVIII century. V. Otdelnova explores the artistic life of Moscow in the 1960-1970s and the “Group 16” that consisted of painters, graphic artists, sculptors, arts and crafts masters. The fifth chapter of the book captures not only the practice of art, but also speaks about various experiments, teaching, for example. An article by 0. Tomson, covers the topic of the relationship between modern art and the means of communication, points out a parallel between the French existentialism, the work of the Moscow conceptualists and representatives of the Sots Art. A. Parygin analyzes the features of the avant-garde perception, while teaching environmental students, who were specializing in interior design and landscape design. Moscow Candidates of science, L. Nemenskaya, E. Gribonosova-Grebneva, as well as a young researcher from Belgorod, A. Zarubina, have also done some interesting research. Nemenskaya highlights the examples of the symbolic generalization of images in the realistic Russian painting of the second half of the twentieth century, the key names and works associated with this trend are revealed in the article. Gribonosova-Grebneva analyzes the search for a classical component in the experimental Russian art of the post-soviet period in the wings of an appeal to the nude motif in her article. Zarubina’s text is presented by an unexpected topic of redesign and design of the public library as an important phenomenon in the understanding of urban spaces. V. Rytikova, a researcher of plastic art, has focused on the experimental aspects of the creative activity of a Leningrad sculptor, L.Yu. Eidlin, a student of A.T. Matveev. The sixth chapter of the book is the last one, it touches on the question of the development of Russian Modern and Contemporary art in interaction with the Western artistic experience. The texts of the young authors offer some interesting scientific research and discoveries on this subject. The article of a Candidate in arts, E. Agratina, is devoted to the work of Giuseppe Valeriani in Russia, and highlights his little-known works of the stage sets. An article by E. Usova is dedicated to the career of a half-forgotten Russian artist, Konstantin Pavlovich Kuznetsov, who worked at the close intersection of the French impressionism and Russian plein-air painting. E. Sakovskaya’s work is dedicated to the topic of European technical graphics as a visual art source of illustrations of a manuscript called “Abrisi” by V. Gennin, 1735, to the Russian mining industry. A work of N. Vikhreva reveals the little-known phenomenon of the presence of Brazilian modernism in the Soviet historical context, exploring the socialist art of the two very different, but vivid Brazilian artists, Tarsila do Amaral and Emiliano Cavalcanti. Y. Gladkaya analyzes the school of the abstract expressionism in San Francisco on the example of Clifford Still’s works, whose art is being analyzed in the correlation with the cultural and historical context. An article by A. Dokuchaeva contains little-known facts and problems of the Russian-French artists’ relations of the 1920s and 1930s, including exhibition exchanges and business trips. Consequently, this book, along with all the materials listed, identifies and reveals the significant and little-studied issues related to the style and plot development of Russian modern and contemporary art, modern artistic practices, the variety of types and genres of the regional creativity, historical intersections of the Russian and foreign artists. The authors believe that this publication may set the bar for good scientific collaboration with art historians of the older and younger generations, Moscow and the regional centers, the representatives of the theoretical and practical spheres, contribute the extension of the research horizons and well-established conceptual models. In general, the book does demonstrate the permanent value of the scientific search in the course of a rich and unbiased dialogue.
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Kandinsky’s Works.12 Koshkina O.Y. G.Y. Dlugach’s “Hermitage School”: Art as an Interpretation of Old Masters. 16 Sedova I.N. Sculptures as Symbols. Space Sacralization.20 Romanova V.V. New Plots in the Soviet Underground Art. 24 Krylova A.A. The Evolution of Assemblage in Russian Avant-garde Art of the First and the Second Wave. 29 Koroleva O.A. The Creative Method of “Jack of Diamonds’” Artists: Realistic Avant-Garde, or Avant-Garde of Realism . 33 CHAPTER 2 The Search and the Progress of Russian Art of the XVIII-XX Centuries: Theory, Practice, Issues. 37 Krivdina O.A. To the Study of the Artistic Legacy of M.G. Krylov, Sculptor (1786-1946) .38 Kalugina O.V. Monumental Sculpture in Russia’s Time of Historicism: The Peculiarities of Images and Composition. 42 Trenikhin M.M. “Vrubel’s Diversity of Color”. The Ornamental Beginning Around the Turn of the XX Century in the Ceramics and Porcelain by Nina Pavlovna Polynskaya . 47 Korvatskaya E.S. The Pre-Revolutionary Book Graphics by Alexey Nikanorovich Komarov (1879-1977) . 51 Krupnova M.D. To the Subject of the Origins of the Indoor Sculpture: “The Monument to the Peter the Great”, and the Wooden Plastic of the XVIII Century in Russia . 55 Korobtsova S.S. V.A. Beklemishev’s Monumental Art in the Conditions Of the Search for the New Moscow Sculpture Representatives at the Turn of the XIX-XX Centuries as an Example of Following Traditions.58 Guseva A.S. The Russian-Bashkir Friendship Monument in Ufa by M.F. Baburin.62 180 CHAPTER З The Diversity of The Genres Of Visual Art in The Russian Regions. 65 Plieva M.G. Modern Monumental Painting of Orthodox Churches in Alania and the Republic of South Ossetia. 66 Kober 0.1. The Identity of “The Orenburg School” of Painting. 69 Philippov A.E. The Monumental Propaganda in the Streets of Krasnodar: The History of the Style in the Monuments of the Soviet Time.73 Gerasimova A.A. Vladimir Kapelko. Siberian Primitivism .76 Appaeva Z.M. The Visual Art of Kabardino-Balkaria. In the Time Frame. 78 Belousova-Lebedeva V.A. The Siberian Landscape: Topography, or an Artistic Phenomenon . 83 Legotina A.V. On the Way to the New Architecture: 1914 and the Yuzhno-Uralsk Modern. 87 Kushnareva A.V. Self-Portrait in the Art of Yuri Deev.90 CHAPTER4 History as a Factor of the Search And the Achievements of the Russian Visual Art of the XVIII-XX Centuries.92 Kolmogorova E.E. On the Image of a Wife And Mother in the Russian Portrait of the Second Half of the XVIII Century ֊ the Early XIX Century .93 Philippova O.N. The Landscape in M.I. Lebedev’s Art (1811-1837). 97 Skvortsov-Peterskiy A.V. The Style Concepts of the End of the XVII Century ֊ the Early XVIII Century in the Context of Literature and Monumental Painting.101 Otdelnova V.A. The Exhibitions of “Group 16” in the Context of the Moscow’s Artistic Life of 1960-1970s. 105 Sirenko A.S. The Cimmerian School of Painting .110 Borisova A.A. The Evolution of the Industrial Subject in Russian Art. Series of Miners by N.A. Kasatkina (1890-1920s) .116 Titova E.A. The Image of the Contemporary in M.V. Nesterov’s Art. A Huge Artist’s Legacy.120 Levina N.O., Razuev I.K. The Artist and the Time. The Art of I.K. Aivazovsky, and His Epoch.124 CHAPTER 5 Modern Artistic Practices: The Search and Result .128 Tomson O.I. Modern Art, and The Means of Communication.129 Parygin A.B. The Avant-Garde in the Teaching System of the Environmental Design.133 Gribonosova-Grebneva E.V. The Search for the Classical in Experimental Post Soviet Russian Art. “The Body” Genre . 137 181 Rytikova V.V. Leningrad’s Sculptor Leonid Eidlin 143 Zahurína A.B. Redesign, and Design of a Public Library as a Significant Aspect in Understanding the Discourse of Urban Spaces, and Creating a New Scenario of Citizens’ Behavior . 147 CHAPTER 6 Russian Art, and the Interaction With the West: The New Discoveries . 150 Agratina E.E. Giuseppe Valeriani in Russia. The Works of Theatrical Decoration. 151 Usova E.A. Konstantin Pavlovich Kuznetsov. A Russian That Is One of Us . 156 Gladkaya Y.A. Abstract Expressionism in San Francisco. Clyfford Still and the Russian Context. 158 Sakovskaya E.V. The European Technical Graphics of the XV-XVII Centuries as a Visual Source for the Manuscript’s Illustrations “Abrisi” (1735) by W. Hennin. To the Subject of the Authorship . 161 Dokuchaeva A.V. The Evolution of Russian Painting in the Context of the Russian-French Art Connections in 1920-1930s: Facts, Practice, and Issues. 164 Vikhreeva N.V. The Soviet Historical Context and the Brazilian Modernism: Socialist Art of the 1930s by Tarsila do Amaral and Di Cavalcanti. 169 Authors.174 Authors in English .176 Summary . 178 bays Staeun \ Mur Summary This work, dedicated to the innovativeness of Russian art, dating back to Peter the Great’s reign, and up to the present day, also includes texts, written mainly by young speciahsts, and experienced, seasoned researchers. The core purpose of this publication is to present the various range of problems in the history of Russian modern and contemporary art in Moscow, and other regions of Russia, and explore how Russian art had interacted with foreign art. Therefore, the book consists of six parts, dedicated to the theory, practice, art of that period itself, its meaning, the subjects it covered, etc. The first chapter of this book starts with an article by Doctor of Art History, B. Sokolov, dedicated to the analysis of cosmogonic motives in the works of V.V. Kandinsky, an abstract artist, whose art was constantly changing throughout his whole life. 0. Koroleva marks a fascinating period of the art of Saint Petersburg of the 1960-1970s, “the school of Hermitage” of Petrov-Vodkin’s student, G.Y.Długach. Długach adhered copying and interpreting the paintings of the past. I. Sedova, who heads the department of sculpture at The Tretyakov Gallery, observes specific examples of how sacralization of space by the means of monumental plastic of the Soviet and post-soviet times, examining the works of I.M. Rukavishnikov, V.E. Tsigal, A.I. Rukavishnikov. V. Romanova and, A. Krylova, 0. Koshkina explore the Russian avant-garde of the first wave and the second wave, related to the art of the Soviet Underground, the theory and practice of assemblage in avante-garde, “Jack of Diamonds” group that based their art on the mix of the realism and avante-garde. The scientific content of the second chapter, related to certain periods of time and achievements of Russian art of the XVIII-XX centuries, is dedicated to the evolution of the monumental, indoor, decorative sculpture, and book graphics. Doctor of Art History, 0. Kalugina, has focused on the monumental Russian plastic, analyzing its images, and compositions in the works of I. P. Vitali, N.S. Pimenov Jr, P.K. Klodt. A Candidate of Art History, M.M. Trenikhin, uses ceramics and porcelain stored in Tsaritsyno Palace as evidence of how these items are similar to Vrubel’s decorative works of the beginning of the XX century, noting the uniqueness of the ceramist. The young employees of the Tretyakov Gallery, M. Krupnova and S. Korobtsova, highlight the problems of the origins of Russian wooden plastic in the XVIII century evidence from Smolensk’s “Portrait of Peter the Great on a horse”, and the evolution of the monumental art of V.A. Beklemishev, who correlated to the art traditions of the past. A young researcher, A. Guseva, has also studied the Russian-Bashkir Friendship Monument in Ufa, built in 1965 upon the project of a Moscow sculptor, M.F. Baburin, whose art and teaching experience at the Surikov Institute are only now being studied. In this chapter, there is an article written by a young art historian from Saint Petersburg, E. Korvatskaya, that covers the pre-revolutionary book graphics of a famous illustrator of children’s books, A.N. Komarov, printed in the publishing houses of I.D. Sytin, and I.D. Stypin. The subject of art genre diversity has become the most significant part of the third chapter of the book. The various genres of Russian art are mainly highlighted by young specialists of various cities and regions of Russia. A North Ossetian Candidate of Art History, M. Plieva, analyzes iconographie scenes in the monumental and easel painting of the Ossetian contemporary and previous centuries’ art. She has emphasized the close interaction between the Ossetian and Byzantine art. 0. Kober’s article includes the peculiarities of the evolution of the Orenburg painting “school” that correlates to the change of art in the 1960s. A Candidate of Art History from Kuban State University, A. Philippov, analyzes the propaganda depicted in the urban space of Krasnodar, studying the remaining and ruined monuments of the early 1920s in the Soviet Union. Young researchers, A. Gerasimova, and V. Belousova-Lebedeva, are two fine art experts. The works of a famous Siberian artist of the final third of the XX century, Vladimir Kapelko, are reviewed in Gerasimova’s text. Vladimir Kapelko is an example of a Siberian artist working in the genre of primitivism. The second text is on the comprehension of the phenomenon of the Siberian landscape, which is analyzed in the light of the controversial connection of the topographical and the artistic features. A. Legotina, a young specialist from Cheliabinsk, has written an article on the South-Ural modern architecture of 1914. A. Kushnareva, a researcher from Saint Petersburg, has written a text about salient 178 features, and the portrait concept of a Siberian naive artist, Yurii Deev, who was a shining representative of Siberian art. In this chapter, there is also a paper by Z. Appaeva. She has concentrated on the development of the plastic art system of Kabardino-Balkaria, based on using ornament traditions, and representing figurative tendencies. The scientific content of the fourth chapter is on the social and historical realities that was a significant factor of the search and achievements of the modern and contemporary Russian art. It is essential to highlight the texts of the young researchers from Moscow. E. Kolmogorova gives an interesting talk on the image of a woman and a mother in Russian portrait of the second half of the XVIII century and the beginning of the XIX century, writing about the famous and lesser-known artists. A. Sirenko tells of the phenomenon of the Cimmerian art school, presented by K.F. Bogaevsky, M.A. Voloshin, M.P. Latri. A. Borisova analyzes the evolution of the subject of the industrial age in the art of the end of the XIX century and the first decades of the XX century evidence from a late peredvizhnik, N.A. Kasatkin. E. Titova gives an image of the contemporary in the portraits of M.V. Nesterov, interpreting his huge artistic legacy. The subject of a landscape, in the paintings of a XIX century landscape painter, M.I. Lebedev, is described in an article by 0. Philippova. N. Levina and A. Razuvaev have observed the art of I.K. Aivazovsky and the epoch of the artist. The chapter also covers the topic of the exhibitions. A. Skvortsov-Petersky explores the works by LE. Grabar, B.R. Vipper, M.V. Alpatov, and other researchers of the end of the XVII century and the beginning of the XVIII century. V. Otdelnova explores the artistic life of Moscow in the 1960-1970s and the “Group 16” that consisted of painters, graphic artists, sculptors, arts and crafts masters. The fifth chapter of the book captures not only the practice of art, but also speaks about various experiments, teaching, for example. An article by 0. Tomson, covers the topic of the relationship between modern art and the means of communication, points out a parallel between the French existentialism, the work of the Moscow conceptualists and representatives of the Sots Art. A. Parygin analyzes the features of the avant-garde perception, while teaching environmental students, who were specializing in interior design and landscape design. Moscow Candidates of science, L. Nemenskaya, E. Gribonosova-Grebneva, as well as a young researcher from Belgorod, A. Zarubina, have also done some interesting research. Nemenskaya highlights the examples of the symbolic generalization of images in the realistic Russian painting of the second half of the twentieth century, the key names and works associated with this trend are revealed in the article. Gribonosova-Grebneva analyzes the search for a classical component in the experimental Russian art of the post-soviet period in the wings of an appeal to the nude motif in her article. Zarubina’s text is presented by an unexpected topic of redesign and design of the public library as an important phenomenon in the understanding of urban spaces. V. Rytikova, a researcher of plastic art, has focused on the experimental aspects of the creative activity of a Leningrad sculptor, L.Yu. Eidlin, a student of A.T. Matveev. The sixth chapter of the book is the last one, it touches on the question of the development of Russian Modern and Contemporary art in interaction with the Western artistic experience. The texts of the young authors offer some interesting scientific research and discoveries on this subject. The article of a Candidate in arts, E. Agratina, is devoted to the work of Giuseppe Valeriani in Russia, and highlights his little-known works of the stage sets. An article by E. Usova is dedicated to the career of a half-forgotten Russian artist, Konstantin Pavlovich Kuznetsov, who worked at the close intersection of the French impressionism and Russian plein-air painting. E. Sakovskaya’s work is dedicated to the topic of European technical graphics as a visual art source of illustrations of a manuscript called “Abrisi” by V. Gennin, 1735, to the Russian mining industry. A work of N. Vikhreva reveals the little-known phenomenon of the presence of Brazilian modernism in the Soviet historical context, exploring the socialist art of the two very different, but vivid Brazilian artists, Tarsila do Amaral and Emiliano Cavalcanti. Y. Gladkaya analyzes the school of the abstract expressionism in San Francisco on the example of Clifford Still’s works, whose art is being analyzed in the correlation with the cultural and historical context. An article by A. Dokuchaeva contains little-known facts and problems of the Russian-French artists’ relations of the 1920s and 1930s, including exhibition exchanges and business trips. Consequently, this book, along with all the materials listed, identifies and reveals the significant and little-studied issues related to the style and plot development of Russian modern and contemporary art, modern artistic practices, the variety of types and genres of the regional creativity, historical intersections of the Russian and foreign artists. The authors believe that this publication may set the bar for good scientific collaboration with art historians of the older and younger generations, Moscow and the regional centers, the representatives of the theoretical and practical spheres, contribute the extension of the research horizons and well-established conceptual models. In general, the book does demonstrate the permanent value of the scientific search in the course of a rich and unbiased dialogue.
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genre_facet	Aufsatzsammlung
geographic	Sowjetunion (DE-588)4077548-3 gnd Russland (DE-588)4076899-5 gnd
geographic_facet	Sowjetunion Russland
id	DE-604.BV046887728
illustrated	Illustrated
index_date	2024-07-03T15:20:00Z
indexdate	2024-07-10T08:56:37Z
institution	BVB
institution_GND	(DE-588)10177063-7
isbn	9785907043503
language	Russian
oai_aleph_id	oai:aleph.bib-bvb.de:BVB01-032297619
oclc_num	1197701205
open_access_boolean
owner	DE-255 DE-12
owner_facet	DE-255 DE-12
physical	181 Seiten Illustrationen
psigel	BSB_NED_20210219
publishDate	2020
publishDateSearch	2020
publishDateSort	2020
publisher	BuksMArt
record_format	marc
spelling	880-06 Tri veka poiskov i dostiženij otečestvennoe iskusstvo XVIII-XX vekov = Three ages of search and achievements - Russian art of XVIII-XX centuries pod redakciej: E.V. Gribonosovoj-Grebnevoj ; redaktor: L.V. Širokova ; avtory: B.M. Sokolov [und 39 weitere] ; Associacija iskusstvovedov 880-05 3 veka poiskov i dostiženij 3 Ages of Search and Achievements Three ages of search and achievements - Russian art of XVIII-XX centuries 880-04 Naučnoe izdanie 880-07 Moskva BuksMArt 2020 181 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Text russisch, Inhaltsverzeichnis und Zusammenfassung englisch Kyrillisch Geschichte 1700-2000 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Sowjetunion (DE-588)4077548-3 gnd rswk-swf Russland (DE-588)4076899-5 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Russland (DE-588)4076899-5 g Sowjetunion (DE-588)4077548-3 g Kunst (DE-588)4114333-4 s Geschichte 1700-2000 z DE-604 880-01 Gribonosova-Grebneva, Elena Vladimirovna 1965- (DE-588)1222132044 edt wat 880-02 Sokolov, Boris Michajlovič (DE-588)188355952 wat 880-03 Širokova, L. V. edt Associacija Iskusstvovedov (Moskau) (DE-588)10177063-7 oth V:DE-604 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032297619&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032297619&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032297619&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Abstract 700-01/(N Грибоносова-Гребнева, Елена Владимировна wat 700-02/(N Соколов, Борис Михайлович wat 700-03/(N Широкова, Л. В. edt 250-04/(N Научное издание 246-05/(N 3 века поисков и достижений 245-06/(N Три века поисков и достижений отечественное искусство XVIII-XX веков под редакцией: Е.В. Грибоносовой-Гребневой ; редактор: Л.В. Широкова ; авторы: Б.М. Соколов [und 39 weitere] ; Ассоциация искусствоведов 264-07/(N Москва БуксМАрт 2020
spellingShingle	Tri veka poiskov i dostiženij otečestvennoe iskusstvo XVIII-XX vekov = Three ages of search and achievements - Russian art of XVIII-XX centuries Kunst (DE-588)4114333-4 gnd
subject_GND	(DE-588)4114333-4 (DE-588)4077548-3 (DE-588)4076899-5 (DE-588)4143413-4
title	Tri veka poiskov i dostiženij otečestvennoe iskusstvo XVIII-XX vekov = Three ages of search and achievements - Russian art of XVIII-XX centuries
title_alt	3 veka poiskov i dostiženij 3 Ages of Search and Achievements Three ages of search and achievements - Russian art of XVIII-XX centuries
title_auth	Tri veka poiskov i dostiženij otečestvennoe iskusstvo XVIII-XX vekov = Three ages of search and achievements - Russian art of XVIII-XX centuries
title_exact_search	Tri veka poiskov i dostiženij otečestvennoe iskusstvo XVIII-XX vekov = Three ages of search and achievements - Russian art of XVIII-XX centuries
title_exact_search_txtP	Tri veka poiskov i dostiženij otečestvennoe iskusstvo XVIII-XX vekov = Three ages of search and achievements - Russian art of XVIII-XX centuries
title_full	Tri veka poiskov i dostiženij otečestvennoe iskusstvo XVIII-XX vekov = Three ages of search and achievements - Russian art of XVIII-XX centuries pod redakciej: E.V. Gribonosovoj-Grebnevoj ; redaktor: L.V. Širokova ; avtory: B.M. Sokolov [und 39 weitere] ; Associacija iskusstvovedov
title_fullStr	Tri veka poiskov i dostiženij otečestvennoe iskusstvo XVIII-XX vekov = Three ages of search and achievements - Russian art of XVIII-XX centuries pod redakciej: E.V. Gribonosovoj-Grebnevoj ; redaktor: L.V. Širokova ; avtory: B.M. Sokolov [und 39 weitere] ; Associacija iskusstvovedov
title_full_unstemmed	Tri veka poiskov i dostiženij otečestvennoe iskusstvo XVIII-XX vekov = Three ages of search and achievements - Russian art of XVIII-XX centuries pod redakciej: E.V. Gribonosovoj-Grebnevoj ; redaktor: L.V. Širokova ; avtory: B.M. Sokolov [und 39 weitere] ; Associacija iskusstvovedov
title_short	Tri veka poiskov i dostiženij
title_sort	tri veka poiskov i dostizenij otecestvennoe iskusstvo xviii xx vekov three ages of search and achievements russian art of xviii xx centuries
title_sub	otečestvennoe iskusstvo XVIII-XX vekov = Three ages of search and achievements - Russian art of XVIII-XX centuries
topic	Kunst (DE-588)4114333-4 gnd
topic_facet	Kunst Sowjetunion Russland Aufsatzsammlung
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