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.. [1 -   ,  ,    -         ,    .Etinhof Olga Evgenievna, Doctor of Art History, hief researcher, Research Institute of Theory and History of Fine Arts, Russian Academy of Arts; Russian State University for the Humanities.]



IN RELATION TO THE ORIGIN OF ARTISTS, WORKING IN THE CHURCH OF ANNUNCATION AT THE HILLFORT IN NOVGOROD



O. E. ETINHOF

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Abstract. In the frescoes about the year 1100 in Kiev, Zarubsky Monastery, Pereiaslav-Khmelnytskyi, Oster, Suzdal, Smolensk there are uniform ornaments, decorative elements, etc. Painters in different artistic teams followed the generally accepted norms of church decoration. Is it possible to find the origins of the painting style of the team that worked in the Church of the Annunciation on the Ruriks Hillfort and in St. Sophia Cathedral in Novgorod in the preserved monuments of other centers? The customer of the Church of the Annunciation, Prince Mstislav Vladimirovich, could get a painters team from Kiev inherited (?) from his grandfather, Vsevolod Yaroslavich, or from Sviatopolk Iziaslavich, who reigned there, or, rather, from the workshops of the Kiev Monastery of the Caves. Novgorod Bishop Nikita, the customer of the renovation of St. Sophia Cathedral in Novgorod, was also a newcomer from this monastery. The painting of the St. Michaels Golden-Domed Monastery in Kiev is comparable to the Novgorod ones from the point of view of belonging to the aristocratic trend. The closest proximity to the Novgorod frescoes among the accessible fragments is found among the paintings from the Great Cathedral of the Zarubsky Monastery, which is confirmed in the analysis of the plaster. It is not yet possible also to exclude the migration of the team to Novgorod from Pereiaslav-Khmelnytskyi, where the father of Mstislav Vladimir Monomakh reigned as well as her path not directly from Southern Russia, but through Smolensk.

Keywords: pre-Mongol Rus, artistic center, Novgorod, Ruriks Hillfort, church of Annunciation, excavations, murals, team of artists, painter.



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     .     


.. [48 -   ,  ,          . . Preobrazhenskij Aleksandr Sergeevich, PhD in Art History, assistant professor, Section of History of Russian Art, History Department, Lomonosov Moscow State University.]



A FORGOTTEN PAGE IN THE HISTORY OF RUSSIAN BOOK DECORATION. ILLUMINATED COPIES OF OLD MUSCOVITE PRINTED EDITIONS



A. S. PREOBRAZHENSKIJ

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Abstract. Decoration of the late Medieval Russian manuscripts and printed books has been studied extremely unevenly. Some groups of monuments, especially those located at the interdisciplinary borderline, remain almost unnoticed or only occasionally mentioned in the literature. One of these phenomena is the practice of additional decoration of early Russian books which arose simultaneously with Muscovite book printing. Figurative and ornamental engravings were rather often decorated in gold, slightly colored, turned into painted compositions, replaced or supplemented by miniatures. Similar manipulations that would made standard copy an individual luxurious piece were carried out with books of different content. However, the altar Gospel were decorated with gold and paints especially often. They used to be donated by members of the royal family, aristocrats and Church hierarchs to important churches of the Moscow state. This custom became especially widespread after 1606, when the printer Anisim Radishevsky had published a new edition of the Gospel, the first Moscow printed Gospel with engravings of all four evangelists. The article discusses some illuminated copies of this book, kept in domestic and foreign collections.

Keywords: Old Russian art, 17


century Russia, art of book decoration, early printed books, engravings, paintings, miniature, ornaments, Gospel books.



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     XVIII 


.. [86 -   ,  ,        . . ,    -          ( ).Karev Andrey Aleksandrovich, Doctor of Art History, Professor at the Department of Russian Art History, Moscow Lomonosov State University, Principal Research Associateat the Research Institute of Theory and History of Fine Arts, Russian Academy of Arts (RAH).]



UNFINISHED LINES IN THE WORKS OF RUSSIAN PAINTING OF THE 18


CENTURY



A. A. KAREV

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Abstract. Both the text that is not read to the end and the unaccounted details in the text of a work of fine art can cause a missed opportunity to understand some important facets of a holistic image. The article aims at looking closely at the compositional margins of the 18


century paintings, which are usually perceived as scenes or framing of the main stage. The hierarchical system of constructing illusory space in the picture, which developed in the art of the New Time, provided for this. However, in some cases, the periphery of the composition may contain important clue to decipher the basic meaning of the code. The foreground scenes of paintings of the genre have their specific features. The natural tendency of these works to the narrative, makes and an imprint on the scenes, which are sometimes perceived as a kind of inserted short stories. In historical paintings, the backstage plan sometimes contains a comment close to the emblem of the main stage, as in the works of S. Torelli and A. P. Losenko. Detailed examination of portrait accessories, especially if they are flowers, means touching the allegorical characteristics of the model. The emphasis on the lily hidden in the shadow in the portrait of M. I. Lopukhina by V. L. Borovikovsky allows us to discuss another nuance in the content of the famous canvas, and therefore, as in other cases, to move towards an authentic reading of the visual texts of the Enlightenment century in Russia.

Keywords: Enlightenment century, Russian painting, composition, scenes, detail, emblem, genre, historical painting, portrait, accessories.



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    . , , , 


.. [120 -   ,  ,            . . ,      .Khachaturov Sergey V., PhD in Art History, assistant professor, Section of History of Russian Art, History Department, Lomonosov Moscow State University, senior researcher at the State Institute of art studies.]



GOTHIC HISTORICAL PAINTING OF THE ROMANTICISM ERA. BRUNI, IVANOV, FUSELI, BLAKE



S. V. KHACHATUROV

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Abstract. The age of romanticism, the brightest period in which plastic representation coincides with a universal style of Empire, did the main theme of what was hidden, seamy in the Age of Enlightenment, namely unaccounted for items, difficult and wrong, Gothic, romantic signs of historical time, subjective and not normative experience of the chronotope, as well as a personal understanding shown of incidents, accomplishments and deeds of men. Was legalized power of untidy emotions, extreme passions, of terrible passions. These topics were front and not the shadow, the other.

The historical picture as if remained in the power of academic rules. Reform on its territory was long. The more valuable on the example of creativity of Russian, English, German, Italian masters to see how accents gradually change, and saboteurs of the Gothic shadow alter the image, make it complex, multi-component, open. Its important personally, for example close looking at historical paintings, to ensure that the General geography of the Gothic ancient gradually acquires the specific national place names.

Key words: the age of romanticism, the Empire style history painting, the Gothic taste, the gap Canon, national identity, feeling of modernism



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  .             XIX 


.. [150 -   ,  ,       XIX   XX .   ;     XVIII   XX .         .Usacheva Svetlana, PhD in Art History, Leading Researcher, State Tretyakov Gallery, Science and Research Institute of Theory and History of Arts of the Russian Academy of Arts.]



MOTIVE FOR ATTRIBUTION. ON THE HISTORY OF THE STILL LIFE GENRE IN RUSSIAN ACADEMIC PAINTING OF THE FIRST HALF  MID-19TH CENTURY



S. V. USACHEVA

.    ,       XIX ,       .              ,       18301860- .         ,             . . .       ,   ,      .      ,        ,       .          ,           .    ,              ,       ,      - .

 :   XVIII    XIX ,   , ,    , . . , . . , . . , . . .



Abstract. The typological narrowness of the still life genre, which flourished in the first half of the 19th century, is largely due to its academic origin. The priority of the flowers and fruits genre in the academic painting determined the thematic and stylistic uniformity of the settings created by the graduates of the Academy of Arts during the 1830s1860s. In this situation, attribution of authorship of works, most of which are traditionally associated with the name of the most famous representative of the genre I.F. Khrutsky, is of particular difficulty. The article discusses objective and floral motifs included in still lifes, as well as the features of their pictorial interpretation. Generally typical for their time, they allow us to divert from Khrutsky a whole series of works created by his little-known colleagues at the Academy of Arts. In this case, the motive for attribution may be found in minor details, that later can be viewed as characteristic features of the creative style of a particular painter. The author concludes that the analysis of individual subject motives plays a significant role not only in identifying authors style, but also in the semantic reading of still-life settings that connect the traditions of the genre with modern cultural and historical realities.

Keywords: Russian painting of the 18th  first half of the 19th century, Academy of Arts, still life, genre of flowers and fruits, I. F. Khrutskty, F. G. Toropov, K. D. Prenner, F. Ya. Barzenkov.



     XIX        .         ,             ,    .         ,     ,      :   ,  ,   ,           ,      .   ,      .      , ,   ,           ,         .




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  ,  ,       XIX   XX .   ;     XVIII   XX .         .

Usacheva Svetlana, PhD in Art History, Leading Researcher, State Tretyakov Gallery, Science and Research Institute of Theory and History of Arts of the Russian Academy of Arts.


