Issue 40 (2020, 4) Summary

ARTICULT #40 (4-2020) October-December

SUMMARY

THEORY OF ART

ONTHOLOGY OF CURATING
UDC 06.064+061.4+7.01
Author: Schtein Sergey Yuryevich, PhD in Art Studies, assistant professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: sergey@schtein.ru
ORCID ID: 0000-0002-4419-1369
Summary: The article is devoted to theoretical modeling of the ontology of curating of exhibition projects. At the same time, curating is considered in two complementary "projections": as a function in the conditions of exhibition activity and as an independent activity. The meaningful “frame” for expressing the desired ontology is the methodical presentation of activity. The methodological basis for theoretical modeling is the activity approach, the genetically constructive approach, the ontologization method and the constant method. In addition to the conditional norm of the curator's activity, the main possible options for going beyond it are separately considered, which in this construction is expressed through opposition to the curator of the art manager's figure. In this regard, the ontological functions of the art manager as a stable subject of the mechanism of system exhibition activity are described.
Keywords: curator, curating, art manager, art management, exhibition activity, contemporary art, methodology of art studies, art theory, the science of art, constant method

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HISTORY OF ART

ICONOGRAPHY OF THE REWARDING SCENE FROM THE ANCIENT EGYPTIAN PRIVATE TOMBS OF THE XIX DYNASTY
UDC 7.032(32)+726.852
Author: Ershova Elena Sergeevna, lecturer, Department of theory and history of art, Faculty of the History of Art,, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: lena.s.ershova@gmail.com
ORCID ID: 0000-0002-1345-7056
Summary: The phenomenon of the king’s rewarding of the court officials and warriors for the loyal service reached the peak of its development during the New Kingdom Era, which is confirmed by lots of historical sources, as well as the scenes depicting the king’s rewarding the noble people which first appeared in private tombs during the reign of Thutmose IV and went on appearing during the whole New Kingdom Era. This article deals with the rewarding scenes which can be seen in private tombs in Thebes and which are dating back to Dynasty XIX period. Painting of private tombs of Dynasty XIX is characterized by fewer number of scenes depicting services and daily life of officials, and, to the contrary, larger amount of scenes related to the posthumous existence of the tomb owner. There are only three rewarding scenes in the private tombs dated back to the period in question, and these scenes can be found in the burials of Paser, the mayor of Thebes (TT 106), Apy the sculptor (TT 217) as well as in the burial of Thai who was a royal scribe. The composition of these scenes is based on scenes dated back to the period of Dynasty XVIII reign, however, they are smaller in scale.
Keywords: Ancient Egypt, New Kingdom, rewarding scenes, gold of honour, rewards, private tombs, XIX dynasty

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FOREIGNERS IN MUSCOVY OF THE LATE XV-XVI CENTURIES: PERCEPTION OF DEVELOPMENT AND ARCHITECTURE OF RUSSIAN CITIES
UDC 711
Author: Chernyy Valentin Dmitrievich, doctor of cultural studies, Professor of the Department of history of Russian art, Russian state University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: tchernie@rambler.ru
ORCID ID: 0000-0002-0363-1313
Summary: The article considers the peculiarities of foreigners' perception of Russian cities, their development, planning and architecture during the late XV-XVI centuries. The restoration of a single state, called Muscovy in Europe, has attracted the attention of many countries, communities, and individuals seeking to establish profitable political, commercial, and cultural ties with Russia. Russian cities, especially the capital, with unusual layout, buildings and architecture fall into the sphere of attention of foreigners. In their assessments of Russian realities, the authors proceeded from their own ideas and interests that developed in other historical and cultural conditions. For this reason, they often preferred European cities and buildings. As Russia's contacts with foreign countries develop, foreigners' knowledge of Russian cities becomes more accurate.
Keywords: alien, perception, city, building, layout, architecture

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FOUR RELIGIOUS PAINTINGS OF THE MIDDLE OF THE XVIII CENTURY FROM THE CHURCH OF THE RESURRECTION OF CHRIST OF THE GREAT TSARSKOYE SELO PALACE
UDC 75.051
Author: Korshunova Natalya Gennadyevna, art historian, Leningrad state University named after A.S. Pushkin (10 St. Petersburg highway, St. Petersburg, Russia, 196605), e-mail: ngk65@yandex.ru
ORCID ID: 0000-0002-7503-9650
Summary: For the first time in scientific circulation information is being introduced about four religious paintings of the middle of the XVIII century which stayed safe after the looting of the Church of the Resurrection of Christ of the Great Palace of Tsarskoe Selo during the German occupation of the town of Pushkin in 1941-1944. These are the work of artists: I.P. Argunov’s “John of Damascus”, G.G. Deryabi’s “Healing of the Relaxed”, M.L. Kolokolnikov’s “Archangel Michael” and “Archangel Gabriel”. For the first time, information about four preserved Church images of the middle of the XVIII century from the Court Church of the Resurrection in the Big (Catherine) Tsarskoye Selo Palace is introduced into scientific circulation. Stylistic, iconographic and comparative analysis of these works is carried out. The typological systematization of the picturesque design of the temple is introduced. For the first time, the iconographic connection of the plot of images of the Court Church with the engravings of the Western European Bibles, in particular with the engravings of the Bible (1695) by Weigel is revealed. Information about the museum status of the preserved works is given. Two periods in the work of the creation of the picturesque decoration of the Court Church in the middle of the XVIII century are considered on the example of the preserved works.
Keywords: Church of the Resurrection of Christ, Tsarskoye Selo, Baroque, Argunov, Deryabin, Kolokolnikov

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ENGLISH ARCHITECTURAL CAPRICCIO IN THE CONTEXT OF THE DEVELOPMENT OF LEADING ART STYLES OF THE XIX CENTURY
UDC 72.035(410.1)
Author: Guseva Ksenia Evgenievna, Magister of Art History, postgraduate student at the Department of History and Theory of arts in Saint-Petersburg State University of Industrial Technologies and Design (18, Bolshaya Morskaya str., St.Petersburg, Russia, 191186), e-mail: SenniGuseva@gmail.com
ORCID ID: 0000-0003-4870-4966
Summary: Architectural capriccio in the context of the development of the landscape genre, formed in Italy in the 15th – 16th centuries, has gained currency in English art 19th-century. This was facilitated by cultural, historical, political and social reasons. The methodological features of architectural capriccio in the 19th century was influenced by various artistic and art styles in English. The article is devoted to the prerequisites for the formation and dissemination of “capriccio” in the work of English architects and artists: C. Cockerell, J. M. Gandy, T. Cole and others in the cultural and historical context of the 19th century. The article also points out the creative methods and techniques for the formation of the genre of architectural fantasies in the period of changing style canons, the development of eclecticism and romanticism in the art of the 19th century. The causes of reminiscence of Gothic architectural forms in the capriccio genre by English artists of the 19th century are also discussed in detail in that article.
Keywords: architectural landscape, capriccio, architectural fantasies, methodology, eclecticism, romanticism, gothic

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DOMESTIC CHILDREN'S PORTRAIT OF THE FIRST HALF OF THE XIX CENTURY: ROMANTIC IMAGES OF ANGELS, “NOBLE SAVAGE” AND HERO
UDC 7.035(57)+7.041.5
Author: Abdullina Darina Aleksandrovna, Leading Researcher of the State Russian Museum, Postgraduate Student, Department of Art Education and Decorative and Applied Arts, Russian State Pedagogical University named after A.I. Herzen (the head of the thesis research is A.G. Sechin, Ph.D.), e-mail: abdullina@muzped.net
ORCID ID: 0000-0002-4736-7841
Summary: The article considers the children's portrait in Russian painting of the first third of the XIX century on the example of the works of O.A. Kiprensky, K.P. Bryullov, V.G. Varnek, V.A. Tropinin, A.G. Venetsianov and other portraitists of that time. The author identifies the most common “types” or variants of children's images in portraits, namely: children-angels, “noble savages”, children-heroes and “exemplary children”. The emergence of these “formulas of representation” is associated with the development of the so-called romantic concept of childhood, which assumes, in comparison with the previous era of “little adults”, a special attitude to the children's world as a lost ideal, a “Golden age” and programs for the future. The publication traces how the development of the genre and its imagery was affected by the actualization of romanticism trends in the visual arts of that time.
Keywords: children's portrait, romanticism, children, painting, childhood story, 19th century art, romanticism art

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THE PROBLEM OF ATTRIBUTION OF PRODUCTS OF THE TRADE AND INDUSTRIAL PARTNERSHIP “P.I. OLOVYANISHNIKOV'S SONS” IN THE LIGHT OF NEW INFORMATION ABOUT THE COMPANY
UDC 745
Author: Pankratov Sergey Sergeevich, Master of Arts in Theory and Art History, Faculty of Art History, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: s9164468281@gmail.com
ORCID ID: 0000-0001-8597-7846
Summary: The article is devoted to the problem of attribution of individual works of the commercial and industrial partnership “P.I. Olovyanishnikov's sons”. The article describes for the first time previously unknown divisions of the Partnership, such as the icon painting studio, painting, embroidery and carpentry workshops, brocade factory, and indicates sources confirming their existence. The date of creation of the Church utensils factory in Moscow has been revealed. For the first time, the structure of the Partnership, its staff and their qualifications are analyzed. The relationship between the Partnership and the Stroganov school is revealed. The article analyzes the relationship between Olovyanishnikov and other manufacturers of art products and the artist M.V. Nesterov. The article describes the principles of product separation depending on its artistic merits. We consider the profile reference materials printed publications of the enterprise, which contain information about the types of products of the Partnership.
Keywords: modern, attribution, P.I. Olovyanishnikov's sons, Vashkov, riesa, icon, church utensils

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ILLUSTRATIONS TO THE RUSSIAN TRANSLATION OF “THE ADVENTURES OF A LITTLE PREHISTORIC BOY” (1929) BY ERNEST D'HERVILLY IN THE SCOPE OF LITERARY WORKS ABOUT PEOPLE OF THE STONE AGE FROM THE STATE DARWIN MUSEUM COLLECTION
UDC 75.056
Author: Vasilyeva Anna Vladimirovna, Senior Researcher Associate, State Darwin Museum (57, Vavilova str., Moscow, Russia, 117292, Moscow, e-mail: avvassilieva@mail.ru
ORCID ID: 0000-0001-8606-1047
Summary: The article dwells on the study of the image of a prehistoric man portrayed in children books illustrations and museum exhibitions’ design (paintings, sculptures) in 1920-1930s using the example of works from the State Darwin Museum funds. During this period, famous artists of children's books Vasily Vatagin and Mikhail Ezuchevsky worked at the State Darwin Museum. They were also well versed in anthropology and ethnography. Their drawings were the first Soviet illustrations for the book by Ernest d'Hervilly “The Adventures of a little prehistoric boy”, which became a popular science book for children in the USSR about prehistoric people. V.A. Vatagin, M.D. Ezuchevsky and A.N. Komarov created a number of paintings and sculptures about the life of prehistoric people for the exposition of the State Darwin Museum in the first half of the XX century. Illustrations and artworks introduced the element of entertainment and emotional appeal to the museum’s exhibitions, which otherwise were purely informative and rather cold-eyed.
Keywords: prehistoric men, paleoart, Mikhail Ezuchevsky, Vasily Vatagin, Alexey Komarov, children book illustration, the art of 1920-1930s, the State Darwin Museum

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VISUAL ARTS

RUSSIAN ÉMIGRÉS – PHOTOGRAPHERS IN THE USA: PATH TO ART AND BUSINESS (1930s-1960s)
UDC 325.25+7.038.53:77
Author: Volkova Galina Viktorovna, PhD in History, Director of the Educational and Scientific Center “Art Design”, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: galinavolk@mail.ru
ORCID ID: 0000-0003-3672-2251
Summary: The article is devoted to the Russian diaspora in the USA as one of the centers for the development of photography as an art and a type of private enterprise. The author examines the destinies and creative heritage of the leading masters of photography in Russian America, revealing their interaction with the world of innovative art of the Russian artistic emigration. The author's hypothesis is that the main factors of the outstanding achievements of the leading figures of Russian-American photographic art were the synthesis of artistic and aesthetic innovations of European and Russian art, perceived or directly created by Russian émigré photographers in the 1920s, and the capabilities of the American publishing industry, the ability of its leaders to take creative experimentation and commercial risk for future success. The article also examines the social environment and personalities of the development of photography as a service sector, which has become an integral part of the life of the Russian diaspora in the USA in the twentieth century.
Keywords: Russian Diaspora, Russian America, Russian Paris, fashion photography, design, photography

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CINEMA

WHEN DID THE CINEMA GO WIDESCREEN?
UDC 778.2+791.43.01+791.44
Author: Filippov Sergei Alexandrovich, Ph.D. in Art Studies, researcher at the Faculty of Journalism, Lomonosov Moscow State University (9 Mokhovaya street, Moscow, Russia, 125009), e-mail: s_a_filippov@mail.ru
ORCID ID: 0000-0001-6032-6641
Summary: In the third paper of a series of articles on the dating of technical transitions in cinema, the transition to widescreen format is discussed. In accordance with the methodology adopted in the series, such a date is the transition through the middle, that is in this case the situation, when most films are shot with an aspect ratio exceeding 2:1. According to statistics collected at IMDB, this process turned out to be extremely long: if the active phases of the sound and color transitions took one to two decades, then the widescreen one took more than half a century. After the development of principal systems in the early fifties, cinema at first abandoned the Academy ratio as the dominative one a decade later, and then, in the mid-eighties, it turned out to the masked formats, and only in the early 2010s the cinema finally became widescreen. At that, both the initial impulse to the widescreen transition and the transition itself sixty years later, were the consequences of competition with the television. This was due to, in the first case, its initial expansion in the 4:3 format, and in the second one, the turning to 16:9 ratio.
Keywords: film studies, film history, cinemetrics, widescreen cinema, history of aspect ratio in film, historical film production statistics

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ZERO IDENTITY DRAMA: THE PHENOMENOLOGY OF THE SUPERFLUOUS PERSON IN RUSSIAN CINEMA
UDC 159.923.2+791.43-2
Author: Kolotaev Vladimir Alekseevich, Dr.Habil. in philology, full professor, dean of the Faculty of the History of Art, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: vakolotaev@gmail.com
ORCID ID: 0000-0002-7190-5726
Summary: The article examines the phenomenon of Russian film drama, which is expressed in violation of the traditional principles of action development. The script structure of films about the superfluous person that appeared in the era of late stagnation in the late 1970s - mid-1980s lacks the usual set of elements of the hero's path, the actions he takes or, according to V. Propp, functions that open up the opportunity for this hero, after passing tests of initiation, to change essentially. Numerous actions and conflicts of the heroes of such films as Vacation in September by V. Melnichenko or Flights in a dream and in reality by R. Balayan, evoking an emotional response from the viewer, do not lead to the transformation of the inner world of the hero, and at the level of drama, to the construction action, character arch development. The heirs of the superfluous people of the Russian classical literature, possessing powerful reflection, are not able to accept social values, identify with the categories of the group, or shape their own models of identity. This position of being outside, defining the dramatic paradox of films about the superfluous people (the emotional involvement of the viewer in the absence of an event canvas, narrative as a logically connected set of actions leading the hero to gain a new status through overcoming obstacles) is explained by the zero level of identity. A look at the personality structure of the superfluous people through the prism of E. Erickson's theory of ego-identity formation and our theory of identity development (V.A. Kolotaev, E.V. Ulybina) allows us to say that the heroes have not gone through any of the stages of identity evolution. They have not gone through any of the normative crises of the life cycle history, and it is precisely the zero degree of identity that determines the paradoxical form of the hero's trajectory, the path without actions.
Keywords: drama, ego identity, hero's path, superfluous people, stages of identity development, zero degree of identity, psychosocial neoplasm, conflict

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HISTORY AND THEORY OF CULTURE

DISCURSIVE CONSTRUCTION OF “POVERTY” IN RUSSIAN DIGITAL LIFESTYLE-MEDIA (CASE STUDY OF THE “AFISHA DAILY” AND “THE VILLAGE” PUBLICATIONS)
UDC 316.7+316.728+ 339.1
Author-1: Eltsova Ksenia Konstantinovna, PhD in Studies of Culture, Associate Professor of the Higher School for Studies of Culture, Department for Studies of Culture, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: ksenia.eltsova@gmail.com
ORCID ID: 0000-0002-1285-9205
Author-2: Yudina Elena Mikhailovna, MA in Studies of Culture, school-teacher, SFGEI School # 1259 (7, 5th Monetchikovsky lane, Moscow, Russia 115054), e-mail: lena.yudina94@mail.ru
ORCID ID: 0000-0003-1628-2631
Summary: The article examines the emergence of the concept of “poverty” in the mid-2010s in two digital publications considered to be flagships of the “urban” lifestyle media in Russia – “The Afisha.Daily” and “The Village”. The coming into discourses on success and well-being (including the financial one) of a concept that is hardly associated with success and well-being looks like a significant departure from the сanon of lifestyle media, and therefore it is important for a closer study. The analysis is done within theoretical and methodological framework of cultural and media studies; a combination of discourse-analysis’ methods and techniques is addressed for work with digital media texts. The results obtained allowed to determine ways of constructing of “poverty” and to identify discursive strategies by which it is instrumentalized in the media under investigation.
Keywords: digital lifestyle media, urban media, discourse on “poverty”, discourse on “economy”, media representations, self-identification strategies, middle class

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