2010 №№ 1–2

Content

Alexander Rappaport

Extinction of art and architecture

The main problem of this article is considering the problem of exhaustion the creative power of art and architecture as a symptom of a specific stage of formation of modern mass society in its two forms: market and consumer, and totalitarian and ideological. There are certain attempts to identify the main trends in popular art and reaction of avant-garde to them in the form of intensification of expressive means or any critical reflection that are resulting in cancellation personal artistic resources in the favour of political discourse. In the author’s opinion one of the reasons for this process is the written word as an effective means of social control. According to the recited conception the future art depends on prospective renewal of creative atmosphere and artistic discourse where any ethical values would be expressed both in individual consciousness and in social communication.

Keywords: avant-garde, popular culture, design, kitsch, monsters, reflection, management, market, totalitarian and democratic ideologies.

Liudmila Shchennikova

Iconographic features of the miracle-working icon of the Virgin of Vladimir and such icons as “Tenderness — the Virgin caressing”

This article is the first special research of the iconography of the Virgin of Vladimir (Constantinople, the first third of the XII century). Owing to detailed comparison with Byzan tine and Old Russian icons such as “Tenderness”, IX–XIV centuries, and analysis of histo rical sources the author of the article concludes that in the course restoration in XIII–XVI centuries the original iconography and the principal design of this ancient icon have been remained. The main iconographic feature of The Virgin of Vladimir is the planta of the Christ Child turned to viewers (“the heel of the Saviour”). The Old Russian icons, such as “Tender ness”, XIII centuries, are not copies of The Virgin of Vladimir. The first duplication copies have been painted after the Vladimir icon has been glorified in 1395.

Keywords: icon of the Virgin of Vladimir, invariability of the original iconography, the main feature — is “the heel of the Saviour”.

Anna Korndorf

Architecture of the Underworld, or Once again about theater iconography of The Underworld Kingdom

This article is the second part of the trilogy devoted to architecture of the Underworld on the stage of the court theatre under the Baroque and the Age of the Enlightenment and it goes on with the theme of the previous publication “Descent in the Hades and the migrant themes of theater iconography in XVII–XVII centuries” where purely speculative, historiosophical aspects of popularity of hellish collisions on the court theatre of Europe has been considered. The author laid aside the purposeful and anecdotal aspects of the fact how aroused the monarchal “Hades mania” and why it dead away; the author concentrated exclusively on the problem of architectural iconography of the Underworld. Using concrete examples, scenic designs and engravings made on their basis, the author saw to evolution of visual form of The Underworld Kingdom over a period of XVII–XVIII centuries and revealed the principal locus and iconographic motifs of the theater Underworld: Crater, The City of Dit, Pluto’s Palace.

Keywords: Stage design, The Underground, The Underworld Kingdom, architecture, the Baroque, iconography, theatrical machinery, infernal plots, Crater of the Underworld, The Dit, Pluto’s Palace.

Larisa Tananayeva

“Herod’s Feast…” by Bartholomew Strobel

The article is devoted to one of the most mysterious pictures in European painting in the middle of XVII century. The author tries not to interpret it once more but to put this unordinary composition in the context of domestic researches on the above mentioned époque.

Keywords: Bartholomew Strobel, mannerism, Central Europe, the court portrait, traditions of Rudolfinians in Prague, “masque” at the Stuart’s court.

Gennady Vdovin

“To be worthy of face” Studies of Russian painting in XVIII century

This work is the eexperience of interpretation the Russian painting of early New Time in the light of the psychohistoricism theory that is affirming connection between history of making «I» and evolution of plastic arts. Methodology of psychohistoricism makes it possible for us to see the unity of the processes in the history of consciousness, formation of language (syntax and grammar) and in development of painting. This publication is the first part of the unpublished book.

Keywords: painting, literature, psychology, grammar, syntax, philosophy.

Alexander Rappaport

Mystery and secret of Palladio
(Anniversary thoughts)

Interpretation the creative work of Andrea Palladio from the sight of methodology of study the graphics means of thinking and activity is the subject of this article. In this aspect drawings of Palladio are of interest not only as models of graphics art but as a new type of schematization the architectural graphics, which are basically differ from traditional perspectives or proportional schemes. The reason for unprecedented widespread of Palladianism is that this new type of design graphics made the design creative work simpler and stimulated the typological methods of architectural thinking. This schematic language of architectural graphics opened the way for a new theoretical presentation of the architectural space, cate gory of style as well a new system of architectural pedagogics that is passing through acade mic schools, through innovatory treaties of Durand up to modern experiments of N.Ladovsky or P.Eisenmann.

Keywords: theory of architecture, methodology, graphics, architectural drawing, sche me, typology, avant-guard, Palladio.

Ilia Poutiatine

Quarenghi and L’vov “Pilgrimage to Italian Sacred Places” or Creation the Form of Russian Empire Style Church

The author carried out this study in the year of 500-anniversary of Andrea Palladio and it devoted to creative work of two great Russian followers of Palladio: J.Quarenghi and Nicolai L’vov. Basing on different historical sources the author reconstituted both cultural and architectural and theory context of raising significant church architectural monuments of Catherine’s the Great epoch. Moreover, sources of inspiration for the following architectural generation and the ways for formation the wide range of types of Russian church buildings, both well-known and insufficiently known monuments of Russian Empire Style have been indicated in this article.

Keywords: Russia, classicism, Empire Style, Quarenghi, Nicolai L’vov, palladianism, church architecture, theory of architecture, Italy, antiquity.

Maria Nashchokina

Palladian villas in interpretations of Russian estates

Basing on the example of estate building, that has been forming for centuries in accordance with special features of life of Russians and engrossed their world outlook, the author, in different aspects, studies interest to Palladianism in Russian architecture from the end of XVIII to the beginning of XIX centuries. Special attention the author is paying to the correspondence of household arrangement of Russian estates and Palladian villas which Italian architects who worked in Russia caught sensitively. Requirements of Russian landowners and Venetian counts — customers of Palladio, were equal. Their typical features are aspiration for rational and representative structure of their estates and inextricable link with agriculture. However, simple, calm and majestic forms of the estate buildings in Empire style realized not only aesthetic ideal of Russian landowners but the ethics one too; so it made its contribution to spreading the Palladian type of villas.

Keywords: Palladianism, Russian estates, architecture of classicism

Irina Buseva-Davydova

Icon-painting in 1860–1870
Continuation of searching

The article is continuation of a number of publication of the author dealing with church painting in Russia in XIX century (see: Buseva-Davydova I. Russian icon paining in the first third of XIX century. Experience of investigation// Iskusstvoznanie’2/06 [XXVIII]; Buseva-Davydova I. Icon paining and monumental church painting in the end of XIX century. History and subject matter// Iskusstvoznanie’3/08 [XXXIII]; Buseva-Davydova I. Russian icon paining in 1830s. To the problem of sacral image //Iskusstvoznanie’1–2/09 [XXXV]). In 1860–1870s the discussion concerning nature of orthodox church painting continued. Some propositions being formulated in the course of this discussion had their influence on the interior design of the Cathedral of Christ the Savior. The “Byzantine style” was widespread in icon painting (studio of V.M.Peshehonov in St.-Peters burg, icon workshop of the Holy Trinity St.Sergius Lavra under leadership of I.M.Malyshev). N.S.Leskov, who took a great interest in icon-painting of Old Believers, was the first author of XIX century who highly rated the artistic features of the Old Russian icon-painting.

Keywords: Russian church painting, icon, academism, “Byzantine style”, tradition, Old Believers.

Evgenie Basin

Portrait and Personality
Concerning portrait evolution in the West European painting at the close of XIX–XX century

This article is considering portrait (and a self-portrait) in the West European painting at the close of XIX–XX century. Crisis of traditional canons of the portrait genre, caused, at the judgment of the author, mainly by frustration features of social nature of Contemporary time is characterizing its evolution.

Keywords: portrait, self-portrait, archetype, canon, individuality, crisis, evolution, frustration personality.

Oxana Vashchuk

A new typography concept in proceedings of J.Tschichold

This article is dealing with the problem of beginnings and development the new typography concept in proceedings of its notable theorist J.Tschichold. His fundamental book “The New Typography” (1928) is in the spotlight of the article.

Keywords: new typography, Jan Tschichold, graphic design, elementary typography, cinema poster.

Elena Khlopina

Panels painted by I.I.Mashkov for the hotel “Moscow”
Concerning the problem of the pictorial synthesis at the later period of the artist’s creation

In this article the author studies six panels painted by I.I.Mashkov for the hotel “Moscow” in period between 1937 and 1938; these panels are an integral part of the artist’s creation. The most significant tasks of his art are concentrated in these works. First of all, this is the aspiration to paint a large, monumental and decorative painting as if it is painted on a plein-air and to create a symphonic ensemble by comparing different states of colour and air background. By these features Mashkov’s works are resembling panels of Bonnard and Vuillard; but in contrast to their planarity, decorative and symbolic nature, these works are absolutely self-sufficient, they are a part of traditional easel painting, and this more resembling works of Veronese or Tiepolo. And the extant sketches that are explaining ideas of the artists are another confirmation of the above mentioned.

Keywords: I.I.Mashkov, hotel “Moscow”, monumental and decorative panels, ensemble, plein-air painting, Bonnard, Vuillard, colourism, preliminary sketches.

Valentina Kryuchkova

The problem of pictorial content in Abstract art
(After discussions in France in the period 1940–1950)

The article is devoted to discussions about abstract art that took place in France after the Second World War. Special attention the author is paying to attempts of aesthetic substantiations of Abstract art, to arguments concerning its art validity. The thorough analysis shows that the leading persons of art informel (including abstraction lyrique) were sure of the fact that in art an absolute isolation from reality is impossible; that mimetic principles in so called unfigured art are presenting without fail. The author is developing this point of view using data of modern psychology, evolutional epistemology, scientific conceptions of morphogenesis.
Abstract art gives rise to lots of associations with real world, i.e. its mimetic capacity broadens covering a wide range of phenomena. And the most talented artists of Abstract art understood this fact and used it in their works. So, there is a conclusion that non-figurative forms in art of XX century did not mean breach of traditions, but their proceeding.

Keywords: abstract art, mimesis, pictorial content, scientific picture of the world.

Xenia Vytuleva

“Immaterial architecture” of Yves Klein

The article is devoted to little-known phenomenon of designing futurology, so called “immaterial architecture” of Yves Klein. The author is describing experiments of the artist with structures of sabtle matter (air, fire, etc.) in the contest of his pictorial works and intellectual searching, impact on Klein traditions of east calligraphy and philosophy of martial arts (Judo in particular), Bachelard’s literature heritage and scientific innovations including space exploration. The author in details presented such projects as “Air café in Gelensenkirche”, “Technological Eden” and “Monochromes and fire”, the recent tendency to turn to ideas of the artist has been also mentioned.

Keywords: Immateriality, “Air architecture”, Yves Klein, “visible-invisible”, void, post-war utopian architecture.

Igor Dukhan

Cubism and durée Henri Bergson philosophy of time in the mirroir of avant-garde

At one of the stages of its evolution cubism became the artistic language of Bergson nism. As an expressive and original artistic language, it didn’t turn into the illustration or parallel to Henri Bergson philosophy. Bergson, Picasso, Braque evolved in the integral mileau of culture, and in Bergsonnism Cubism found support for its creative intuitions. The art of Cubists around 1910th became an experience of “life in durée”. The article examines critical works of Tancrède de Visan, Joseph Billiet, Albert Gleizes and Jean Metzinger, as well as the artistic works by Pablo Picasso, Georges Braque, Marcel Duchamp, etc.

Keywords: Cubism, Futurism, Henri Bergson philosophy, durée, intuition, seriality.

Irina Azizyan

Sculptural pictures and other works of A.Archipenko made during the war

This article is the chapter of the last manuscript of Irina Azizyan devoted to the creative work of A.Archipenko. The author submits for consideration the works of art made in a new manner — “sculptural painting”, where a new avant-garde devices of form-building by combining volume and void, polychromatic relief and imitation of relief in the painting, unexpected construction structure, etc. have been applied. The detailed analysis the works is accompanying by his own opinions and theoretical thoughts — fragments from the book “Fifty creative years. 1908–1958”.

Keywords: A.Archipenko, construction, volume, “sculptural painting”, relief, color, sculptural picture.

Ekaterina Lazareva

Mechanical Art and Aeropainting
To the history of the main aesthetic programs of Italian futurism in 1920–1930’s

This publication is developed commentary accompanying the first Russian translation of two basic texts of post-war Italian futurism — manifests Mechanical art (1922) and Aeropainting (1931). The article-commentary is devoted to the history of their appearance, their relationships with prewar futurism theory, interpretation the stated ideas in art practice, their place in the context of European modernism, and the creative biographies of the manifests’ authors. The Machine cult of the Flight idea that have defined aesthetics and poetics of the “second” Italian futurism are considered as peculiar “archetypes” of culture of XX century. The complex of their ideas and images makes the major contribution to the “second” Italian futurism to the European art of 1920–1930’s, that is still little-studied

Keywords: manifest, Italian futurism, Mechanical Art, Aeropainting.

Rauza Sultanova

KEMST and the Tatar theatre

In this article the author is examining influence of aesthetic principles of Constructive and experimental workshop of modern theatre (KEMST) on the scenography of the Tatar theatre; role and significance of work of the artist, K.K.Chebotarev, in formation a new theatre language and a stage form.

Keywords: the Tatar theatre, scenography, constructivism, propaganda poster, cubism, experiment, agitation and popular art.

Julij Pyteria

Appraisal by contemporaries and critics of art landscapes of Dutch Italianate Painters of XVII century

Italianate landscape painting is the most large-scale area in the Dutch painting of XVII century. Artists of this current with observation inherent in northern masters created very truthful pictures of Italian nature.
Object of this study is history of perception of extensive picturesque heritage of italianistes — from their contemporaries to historians of art of XX century; painters and collectors of XVIII century considered their works to be unconditional samples for imitation; but landscape painters of the romanticism epoch, on the contrary, considered their pictures to be “artificial” and have little to do with nature.

Kеywords: Dutch landscape, Dutch italianate painters, classical landscape, bamboccianti.

Evgeny Iailenko

Russian Rome From history of intercultural relationships between Russia and Italia in the first half of XIX century

1. The world of Russian artist in Rome in the first half of XIX century

This article is devoting to the problem of the artistic life in Rome in the first half of the XIX century, first of all investigating the basic aspects of the everyday life, artistic as well as social, of Russian academician pensioners. Studying still non-attained in some cases sources and unpublished documents from Russian archives, the author shows the way of forming relationships in the artistic environment, the way of developing contacts with clients and authorities, pointing out the significant evolution in these spheres from 1820-s to the middle of the century. Also the article concerns the problem of coexistence of the romantically inspirited ideal of Italy as the «homeland of art» and the real life.

Keywords: Rome, Alexandr Ivanov, romanticism, clients, art exhibition.

The authors of this issue