Issue 30 (2018, 2) Summary

ARTICULT #30 (2-2018) April-June

SUMMARY

THEORY OF ART

TO THE QUESTION OF THE ROLE OF THE ARCHITECTURAL THEORY OF VITRUVIUS IN THE ARCHAEOLOGICAL RESEARCH OF RAPHAEL AND MARCO FABIO CALVO: ON THE EXAMPLE OF ANALYZING THE DRAWINGS AND COMMENTS ON THE BAVARIAN CODE
UDC 7.01
Author: Limanskaja Ljudmila Jur'evna, Doctor of Art Studies, Professor, Head of the Chair of Theory and History, Faculty of Art History, Russian State University for the Humanities (bld. 6, Miusskaya Square, Moscow, Russia, GSP-3, 125993), e-mail: lydmila55@mail.ru
ORCID ID: 0000-0002-0592-3192
Summary: Translation of the Vitruvius treatise “Ten books on architecture”, executed by Marco-Fabio Calvo at the request of Rafael from Latin to Italian, is now stored in the Bavarian library of Munich and contains a number of drawings and notes on the fields performed by Raphael's hand. Analysis of notes and drawings in the text of the Bavarian Code makes it possible to clarify the role of the Raphael Archaeological Commission in the development of antiquarian science, to reconstruct the historical logic of antiquarians and artists of the early 16th century.
Keywords: Vitruvius, Raphael, Marco Fabio Calvo, antiquarian science, beginning of antiquarian studies

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“PALLADIAN TEXT” IN I.V. ZHOLTOVSKY BIOGRAPHY
UDC 72.034.8+72.036
Author-1: Pechenkin Ilia Evgen'evich, Ph.D., Head of Department History of Russian Art at Faculty of Art History, Russian State University for the Humanities (bld. 6, Miusskaya Square, Moscow, Russia, GSP-3, 125993), e-mail: pech_archistory@mail.ru
ORCID ID: 0000-0002-8000-7792
Author-2: Shurygina Olga Sergeevna, historian, independent researcher, e-mail: olia85@list.ru
ORCID ID: 0000-0003-4526-4205
Summary: The paper deals with hardly main subject line of architect Ivan Zholtovsky’s biography that can be named as “Palladianist legend”. Authors find that this well-known side of Zholtovsky popular image at least contains three important episodes: a) discovering Palladio’s heritage for the architecture in the beginning of 20 century (i.e. Zholtovsky’s conversion to Palladianism); b) experience of symbolic appropriation Palladio by the leaving out Russia for the longest Italian tour; c) experience of symbolic appropriation Palladio through the translating of “The Four Books on Architecture”. Based on new archival sources authors have had tried to do these biographic tales much more clear and true.
Keywords: Architectural History, XX century, I.V. Zholtovsky, biography, archival studies, A. Palladio

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HISTORY OF ART

TURIN-MILAN HOURS: HISTORY OF DISCOVERY AND ATTRIBUTIONS
UDC 7.033.5+75.056
Author: Shabaeva Margarita Valerevna, Student of bachelor’s degree program “History of Arts”, Faculty of Humanities, National Research University Higher School of Economics (21/4 Staraya Basmannaya str., Moscow, Russia, 105066), e-mail: shabaeva.margo@gmail.com
ORCID ID: 0000-0003-1418-1503
Summary: Despite the fact that Turin-Milan Hours has been studied over more than one hundred years now, researchers still cannot come to a consensus as they continue to discuss its possible dates of creation and attributions: history of the manuscript is quite confusing and only a small number of documented evidence exists. The purpose of this paper is to provide an overall view on the history of the Hours’ investigation on the timeline. Through systematization of information about wide range of opinions about the manuscript’s attributions it becomes possible to understand principles of different methods of art historian analysis, ways they are applied, problems and contradictions they may cause.
Keywords: Turin-Milan Hours, book illumination in the 15th century, Early Netherlandish art, brothers van Eyck, questions of attribution

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THE VANITAS STILL-LIFES WITH THE ATTRIBUTES OF WAR AND POWER OF THE FIRST HALF OF THE 17TH CENTURY IN THE HAARLEM SCHOOL
UDC 7.034(492)+75.045+75.049.6
Author: Gruznova Anastasia Aleksandrovna, Bachelor of Art History, National Research University Higher School of Economics (21/4 Staraya Basmannaya str., Moscow, Russia, 105066), e-mail: anastasiagruznova@gmail.com
ORCID ID: 0000-0002-3225-7420
Summary: Vanitas is a subject of discussion in art history, concerning Dutch art of the 17th century and in contemporary art studies. Vanitas is usually associated with Leiden and the most common iconographic type of composition that includes skull, clocks, and books. Therefore, this paper focuses on another region, Haarlem, and centers on still lifes with attributes of war and power. The key artist for this type of still lifes in Haarlem is Willem de Poorter. Basing on the books of emblems and literary texts the author proposes an interpretation of the visual codes used by the painters of the 17th century in vanitas still lifes with attributes of war and power in the Harlem school.
Keywords: vanitas, emblem, emblematic, still-life, armor, war, power, Haarlem, Dutch, Poorter, Fabre

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ENGLISH MEDIEVAL PORTRAIT. PECULIARITIES OF FOREIGN AND RUSSIAN HISTORIOGRAPHY
UDC 7.033.4(410.1)+7.033.5(410.1)+75.041.5
Author: Okroshidze Liya Guramievna, PhD student of the Department of General History of Art at the Faculty of History of Lomonosov Moscow State University (119192, Moscow, Lomonosovsky Avenue, 27/4). e-mail: okroshidzelia@gmail.com
ORCID ID: 0000-0003-4685-7619
Summary: The development of the English medieval portrait is a complicated theme. Its features consist of the fact that the English portrait developed extremely inconsistently and slowly unlike the European portrait. The result of this development was the emergence of a small number of monuments, many of which have not been studied so far. The article gives a detailed review of the books and articles in which the authors turn to the problems of the formation of the portrait genre in England, аlso in this article we describe the features of approaches in studying English medieval portraiture.
Keywords: English art, medieval painting, portrait

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THE STUDY OF PROFILE PORTRAIT MINIATURE IN THE STYLE OF ANTIQUE CAMEO IN RUSSIA
UDC 75.041.5+736.2+736.24
Author: Koroleva Valeriia Igorevna, Ph.D. student, Art History Department, Historical faculty, Lomonosov Moscow State University (27-4 Lomonosovskii prospect, Moscow, Russia, 119192), e-mail: v.i.koroleva@inbox.ru
ORCID ID: 0000-0003-1894-2410
Summary: The article analyzes proceedings and scientific researches devoted not only to cameo portrait, but glyptics. The second one is valuable for the theme, because of its usage as a sample for creating cameo miniatures. So that, reviewing the both supports complete research.
Keywords: profile, portrait, glyptics, cameo, miniature in the style of antique cameo, antiquity, classicism, antique taste

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V.V. VERESCHAGIN’S STUDIO NEAR NIZHIYE KOTLY VILLAGE: THE STORY OF COLLABORATION BETWEEN ARTIST AND ARCHITECT
UDC 72.007+728.37
Author: Gladkikh Elena Vasilevna, Graduate student of Department of History and Theory of Applied Art and Design, Moscow State Academy of Industrial and Applied Arts named after S.G. Stroganov (9, Volokolamskoye St., Moscow, Russia, 125080), e-mail: egladkih@mail.ru
ORCID ID: 0000-0002-4395-9743
Summary: The article contains a story of collaboration between V.V. Vereshchagin and architect N.V. Nikitin in searching style and functional solution of painter’s studio near Nizhniye Kotly village. Studio’s preliminary projects restored in its date order are introduced scientific use as well as V.V. Vereschagin’s letters and his draft of the studio. Recent data refer to V.V. Vereshchagin’s life history and brings the studio into Russian architectural history of the last half of XIX century.
Keywords: V.V. Vereshchagin, N.V. Nikitin, Russian style, artist’s studio

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CONTEMPORARY ART

PHILOSOPHICAL AND ARTISTIC BASE OF NEO-PRIMITIVISM IN FINE ARTS AND THEIRS REMINISCENCES IN THE CREATIVITY OF YURI DEEV
UDC 7.036(4)
Author: Kushnareva Alexandra Vyacheslavovna, Master of Arts History, Senior Researcher of the publishing house “BooksMArt” (117452, Moscow, Chernomorsky Boulevard, 17, building 1, office 209), e-mail: alexandra.kushnareva@gmail.com
ORCID ID: 0000-0002-1604-7300
Summary: In the article the concepts “primitive”, “primitivism” and “neo-primitivism”, the philosophical and artistic bases of this trend in art are analyzed, as well as the characteristic features of neo-primitivism in the Siberian art and creativity of Yuri Deev.
Keywords: Siberian art, neo-primitivism, primitivism, primitive, naive, Yuri Deev

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“COLOUR GEOMETRY OF SPACE”: INDIAN MODERN ARTIST JAGDISH SWAMINATHAN AND TANTRISM
UDC 7.036(4)
Author: Kuzina Elizaveta Olegovna, PhD student at the State Institute for Art Studies (5 Kozitsky pereulok, Moscow, Russia, 125000), e-mail: asilandco@yahoo.com
ORCID ID: 0000-0002-0835-9531
Summary: The article is dedicated to Indian modern artist Jagdish Swaminathan (1928-1994), his artistic and theoretical program and to the way it is reflected in the Colour geometry of space series (1967). This series demonstrates the connection with the visual culture of Tantrism and has to be inspected in the context of the image of the body, represented by Indian religious and philosophical thought. The connection of Swaminathan’s imagery and traditional geometrical pictures – yantras or maṇḍalas, which are used during the Tantric ritual, is analyzed, as well as the way how Tantrism is reconsidered in his work into his own version of modernism, and is imagined as the base of Indian artistic tradition and specifically religious mystical symbolism.
Keywords: Indian Modernism, Jagdish Swaminathan, corporeality, Tantrism

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VISUAL ARTS

“SELF-PORTRAIT” BY MAN RAY AS A LINGUISTIC CONSTRUCTION OF THE MAN RAY BRAND
UDC 7.038.53:77
Author: Averyanova Olga Nicolaevna, PhD, Head of Art of Photography Department The Pushkin State Museum of Fine Arts (12, Volkhonka st., Moscow, Russia, 119019), e-mail: olga.averyanova@arts-museum.ru
ORCID ID: 0000-0003-0741-7813
Summary: “Inspiration, not information, is the general purpose of this book”, Man Ray explained to his publisher. This refers to his autobiography, published in 1963. Throughout his life the American-born French artist Man Ray worked with a variety of images, but this publication, as specified above, represents new “creative product” created by him in non-figurative art. The article deals with some aspects of the interaction of texts and other works of the artist, that is associated with the problem of self-identification of the artist, as well as the functioning of the “author's brand” MAN RAY, which is the subject of a series of author's case study.
Keywords: Man Ray, photography, object, brand, cultural strategy, autobiography, mass market

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CINEMA

PABST’S FILM “DIARY OF A LOST GIRL” AS THE FINAL STAGE OF THE EVOLUTION OF THE IMAGE OF THE “NEW WOMAN” IN THE GERMAN CINEMA OF THE 1920S.
UDC 791.43-2+791.43.03+791.43.04
Author: Smagina Svetlana Aleksandrovna, Ph.D. in Art Studies, Senior Researcher, Film Art Institute at the All-Russian state institute of cinematography of S.A. Gerasimov (3 Wilhelm Pik street, Moscow, Russia, 129226), e-mail: smsval@mail.ru
ORCID ID: 0000-0002-8502-5383
Summary: The article is dedicated to the problem of the evolution of the image of the “new woman” in the German cinema of the 1920s. Especially it concentrates on its final stage, manifested in the film “Diary of a Lost Girl” by G. V. Pabst (1929). German “new woman” was repeatedly in the center of German directors’ attention in that period. A protagonist from the literary works of German writer F. Wedekind (then in the Pabst’s film “Pandora's Box” (1928)), Lulu is the conceptual visualization of that image. The author of the article asserts that the image of the chthonic, sensual, and therefore immoral woman was transformed into a feminist. Developing Lulu’s ideas the heroine of the “Diary of a Lost Girl” embodies a powerful stream of feminine vital energy that can change the existing social order and opposed hypocrisy of the representatives of the patriarchal society.
Keywords: history of cinema, Vedekind, Lulu, Pandora's Box, Diary of a Lost Girl, Pabst, German cinema of the 1920s, Nietzsche, Louise Brooks, gender, Cinema Studies

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HISTORY AND THEORY OF CULTURE

MYTHOLOGIZING IMAGES OF POWER: GENRE AND HISTORICAL PAINTING OF THE VICTORIAN ERA
UDC 75.044+94(410)"1837/1901"
Author: Karaseva Alphia Renatovna, Bachelor of Arts and Humanities, Master of History of the State Academic University for the Humanities (119049, Moscow, Maronovsky Pereulok, 26), junior researcher of the Institute of World History of the Russian Academy of Sciences (119334, Moscow, Leninsky Prospect, 32a), e-mail: alphia.bexaliyeva@yandex.ru
ORCID ID: 0000-0001-7417-5514
Summary: It was a difficult time for Britain when Victoria's rule began, so the young queen had to spread a special image of the leader. These mythological images captured public minds of the Victorian era despite the obvious discrepancy with reality. The tasks of this article include an analysis of the mechanism of creating myths and an attempt to explain the idea of the queen who ordered genre and historical pictures throughout the reign.
Keywords: English art, genre painting, XIX century, Victorian era, history of historical knowledge, Queen Victoria, Imagology

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JEWELRY IN THE SEMIOTIC FIELD OF SOVIET EASEL PAINTING 1920-1930’s
UDC 7.036"192"+75.041.5+739.2
Author: Perfilyeva Irina Yurievna, PhD in Art Studies, associate Professor, Leading researcher of the Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts (21 Prechistenka street, Moscow, Russia, 119034), e-mail: perfileva-irina@yandex.ru
ORCID ID: 0000-0003-4960-3892
Summary: Ornaments as symbolic signs in the semiotic field of Soviet portrait painting of the 1920s-1930s were never considered in the literature. However, the analysis of their use in portraits of the first post-revolutionary years and decades suggests that the appearance of jewelry in this period in portrait compositions was not an accident, due only to the desire of an artist. On the contrary, in each case, for more than a decade and a half they played an important role: from the “small” detail of the composition, to the symbolic sign indicating the belonging of a typical image to a particular social group and, finally, as a social marker with a certain connotation.
Keywords: typical social marker, psychological characteristics, element composition, “talking part”, the miniature portrait, the self-citations

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METHODOLOGY

THE GOTHIC REVIVAL AND GOTHIC AS A DEVICE
UDC 72.035(410.1)3
Author: Degtyarev Vladislav Vladimirovich, competitor for PhD degree, Russian Institute of Art History (5 Isaakievskaya sq., St Petersburg, Russia, 190000), e-mail: vladislav.degtyarev@gmail.com
ORCID ID: 0000-0002-7720-2028
Summary: Though the Gothic Revival is a subject of numerous scholarly publications, most of them deal with the final period of the movement – i.e. the second half of the 19th century. Earlier attempts in imitating Gothic forms are usually marginalized. Nevertheless, from the middle of the 17th century and to the early 1800s the Gothic was frequently used as a mediator for different (sometimes antithetic) ideas and beliefs. During the first half of the 19th century the Gothic is transformed into an assemblage of architectural devices, the value of which is based on association only.
Keywords: The Gothic revival, revivalism, architecture, tradition, ideology, past

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THE ARCHITECTURAL-ARTISTIC APPEARANCE OF THE MUSEUM IN THE EARLY 21ST CENTURY
UDC 727.7
Author: Petrushikhina Svetlana Vladimirovna, master student in Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: herrkote@gmail.com
ORCID ID: 0000-0002-1584-8616
Summary: This article presents the main features of the architectural appearance in the early 21st century. The basic trends in the museum development, such as social turn, commitment to expand their functions and increase the area, were indicated in this article. A diversity of artistic materials, rich compositional variability and the absence of a specific rigid scheme in the architecture of modern museums are described through the example of a number of buildings in Europe and the United States.
Keywords: museum architecture, 21st century, foreign architecture, Tadao Ando, Jean Nouvel, Santiago Calatrava

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