Art In Russia Research Articles

Nadezhda Dobychina (1884–1950)

Abstract The opening of the first commercial art gallery in Russia by Nadezhda Dobychina (1884–1950) heralded surprising female dominance in the national art business sector, which appears even more remarkable considering that up until the early 1910s art dealers were virtually absent from the archaically pre-capitalistic Russian art market. On that account Dobychina’s Art Bureau, which opened in St. Petersburg in October 1911 was an entirely pioneering business project. Dobychina laid the groundwork for several innovative approaches which foreshadowed many aspects of modern gallery practice. Exhibitions in her Art Bureau were accompanied by talks, disputes, concerts and performances, bringing artists and public in a close contact with each other and thus providing a useful forum for the exchange of views and ideas. Dobychina’s Art Bureau aimed at showcasing the most original and distinctive artistic trends in Russia and abroad, ranging from realism, symbolism and post- impressionism to provocatively cutting-edge avant-garde. In a short span of less than a decade she organised the first exhibitions in Russia of Wassily Kandinsky and Marc Chagall and famously exhibited Malevich’s Black Square in the ground-breaking 0.10 exhibition, which was held at the Bureau in 1915. Over the years Dobychina has also assembled an important collection which included works of the World of Art and Avant-garde artists. The Art Bureau emerged as the most influential and ideologically independent centre of the contemporary art in Russia, which in turn secured artistic dialogue between Russia and Western Europe.

The Russian Revolution and photography: The tragic paradoxes of canonisation

Bourdieu (et al.’s) Photography contends that it is the fate of photography to remain for ever ‘a middlebrow art’. This is partly because its technological character is held to be inimical to canonisation as a high art-form, but also because it lacks a class willing to invest time in its reception. Here, I argue, Bourdieu has been proved wrong: photography has now been consecrated, including, ironically, his own photography. Support for this claim is drawn from the field of art in Russia. The Russian Revolution and the Constructivist movement brought into the public gaze artists such as Rodchenko, El Lissitzky and Valentina Kulagina, who saw photography as one of a series of genres that might renovate the social order and transforms the public’s habitual perception. Photography became central in the movement to replace Academic art and thus a key route to photography’s consecration. However, as Benjamin pointed out there is a danger of decontextualising and ‘eternalising’ the photographs or photomontages that make the transition into the art museum. They may remain neither the art of the community from which they emerged, nor be recognised as an expressive resource for later dominated groups; instead such canonised works may become a status adornment of those with cultural capital.

Trends in the study of the image of a modern man in the art of Russia at the beginning of the XXI century

The subject of the study is the consideration of modern trends in the study of fine art, in particular Russian portrait and narrative painting of the beginning of the XXI century. The object is scientific works related to various fields of the humanities, namely: art history, aesthetics, anthropology, sociology, philosophy, psychology, etc. Using their material, it is possible to show not only the difference in approaches to understanding the essence and role of the image of a modern person in the art process, but also to demonstrate the specifics of the artistic interpretation of this figurative system in the context of art criticism, cultural and philosophical issues. Such a study allows us to systematize existing ideas about the peculiarities of the development of anthropological subjects in the mainstream of contemporary fine art in modern Russia, to identify the main directions. The main methodological basis of the study was a systematic approach that allowed us to consider contemporary Russian art as a single system. This helped to compare the approaches of modern researchers analyzing the place and role of the human image in it. Through the postmodern paradigm of perception and interpretation of anthropological topics, to identify the essential features of the ideas of Russian scientists. Methods of art historical analysis were also used. The starting point of the research is that at the moment in Russian science there is a body of art history and cultural studies devoted to the development of contemporary art in the country. However, there are no works summarizing the existing experience of scientists and defining the main directions of scientific thought. In light of this, the scientific novelty of the article lies in expanding the understanding of the methodological apparatus necessary for the analysis of the anthropological trend in the visual arts of our time, which is a promising path for future research in this area. The most demanded conceptual philosophical and historical-cultural foundations for the analysis and solution of practical problems in the field of contemporary art in relation to the representation of the human image are identified. Empirical research material has been collected and analyzed.

ПРАКТИКИ «УСТОЙЧИВОГО ИСКУССТВА» НА РОССИЙСКИХ ЗАПОВЕДНЫХ ТЕРРИТОРИЯХ

The problem of defining “sustainable art” is closely related to the extensive discussion around the paradigm shift of economic growth to the concept of “sustainable development” and related problematic issues related to the relationship between man and the environment. The article explores how contemporary art can reflect the problems of “sustainability”. The article explores the term “sustainable art” through the ecological, social and cultural context of Russia. The author emphasizes the importance of art as a tool for reflection, critical commentary and an incentive to dialogue on sustainability issues. In the Russian context, the issues of “sustainable” development of the economy, ecology and society are also conceptualized by contemporary art, but at the moment this practice are not described as “sustainable art”. The specifics of Russian protected areas allow us to consider them as possible model sites for the development of sustainable art in Russia. The author examines artistic practices in Russian protected areas in 2011-2021 in the optics of “sustainability”.

Культурные реминисценции в современном авторском ювелирном искусстве России

The term «reminiscence» is rarely used in modern research on decorative art. An example of how he works in this field is given based on an analysis of the author’s jewelry art in Russia. The theoretical conceptualizations of the term proposed by various researchers and their propositions are compared with the unique works of leading jewelers of the 1930s-2020s. Using specific examples of borrowings, adhering to the established periodization and realities of the artistic and historical context, the manifestations of particular forms of reminiscences are analyzed: quoting – «verbatim» accuracy; replication – with changes; compilation – the use of parts to create a whole; variation – modification of elements; stylization – imitation of decorative effects. «Reminiscence» is considered as a tool of an artistjeweler, to which he resorts in solving specific creative tasks.

RISKS OF THE IMPLEMENTATION OF JOINT EDUCATIONAL BACHELOR PROGRAMS FOR FINE ARTS TEACHERS TRAINING IN RUSSIA AND CHINA

The article explores the problems and difficulties of introducing joint educational programs for training teachers of fine arts in Russia and China. One of the risks is the difference between the cultural and educational systems of the two countries, which can create difficulties for adaptation and mutual understanding. Another risk is the language barrier and lack of communication, which can be overcome through additional language training and cultural programs.

The continuity of the didactic principle in teaching violin playing in China

The study of continuity between generations is the subject of interest for specialists working in various scientific fields, such as philosophy, cultural studies, pedagogy, psychology, art criticism and others. This problem attracts the attention of scientists and researchers who seek to understand how knowledge and values are transmitted and preserved in various spheres of human activity. Thanks to this interdisciplinary approach, we can gain a deeper understanding of the importance of the succession process in society and culture. In this article, the author addresses the topical issue of violin education in China, its main characteristics and problems of continuity. The issue of continuity in philosophy, cultural studies, pedagogy, psychology, and art criticism is considered from various points of view. The role of the didactic principle of continuity for the Russian violin school is emphasized. The author analyzes the state of modern violin education in China with an emphasis on the main problems and tasks of violin pedagogy. The article uses methods of comparative analysis, examines the history of violin art in Russia and China, describes the educational process in China, identifies the main problems and suggests ways to solve them. There is still very fierce competition in China for admission to professional music universities: according to statistics, out of the total population of the country, only about 15 students enter the conservatory in the violin specialty every year. Despite the fact that violin education in China is organized according to international standards, there are separate problems in the field of pedagogy and performance that need to be solved. Improving the methodology of teaching violin playing (from the very initial level), increasing the professionalism of teachers, expanding the staff of qualified personnel and creating pedagogical conditions – all this will help make the professional training of future violinists effective and strengthen the position of the Chinese violin school at the world level. To date, there is an obvious tendency to transform the foundations established in the educational methodology with a refocus on the individual qualities of the student and the development of his independence. Teachers select new repertoires, which include both classical works and outstanding works by contemporary authors.

Solidarity in the Museum: Practices of Representation of Social Problems in Russian Institutions of Contemporary Art

In 2021, 95.5 million people visited Russian museums, and this is sufficient reason to consider the role of museums more than just the collection, storage and demonstration of heritage. Are museums a space of solidarity — do they represent social problems, do they articulate social interests, commonalities and differences of groups? It is especially important to apply this to the institutions of contemporary art in Russia, which over the past 30 years have found their audience and confirmed the reputation of independence, rejection of the canons, and problematization of everyday life. Using the example of two private metropolitan and one well-known state non-capital museum, the author analyzed the content of expositions for 2020-2021 using two methods. The theoretical framework of the study is social constructionism and post-structuralism. The purpose of the article is to characterize the forms and degree of criticality of artistic expression on the example of contemporary art institutions. The author's typology of models for the representation of social problems by museums is used — classical, critical and participatory. Based on empirical data on the expositions of three museums of contemporary art, a conclusion is made about the poorly realized potential of museums of contemporary art as an institution of solidarity — it has clearly not developed. The data demonstrate quantitative differentiation in the representation of critical statements at exhibitions of various institutions — from a third to a half of the exhibitions do not have a critical orientation, do not involve the viewer in the discussion of social problems. The initial nature of the study indicates the need to supplement the methodology with expert assessments, substantiate the measuring model for studying the sphere of culture in general and the museum in particular as an institution of solidarity.

Fish in Traditional Hezhe Culture

Representatives of the Hezhe people (Nanai people) live in Russia and China. This article is about fish in their traditional culture. Fish and everything related to it can be considered a cultural symbol of the Hezhe people. This is due to the peculiarities of the culture of the region located along the Amur, Sungari and Ussuri rivers. Analyses of historical documents and artistic works show the great importance of working with fish skin in the life of the Hezhe. Material production and spiritual life of the Hezhe have been closely connected with fish for many generations. It has been revealed that the high fertility of fish, one of the main sources of food and material for sewing clothes, caused the Hezhe people to revere fish in ancient times. It has been established that the Hezhe people had a rich culture. Fish became one of the most widespread zoomorphic motifs of Hezhe ornamental art. The image of fish on the products was given a high cultural meaning. This image left a vivid trace in both Chinese and Russian culture — from totemism to decorative items. The article presents an analysis of fish as a cultural symbol based on the materials of Chinese and Russian museum collections. The study of fish in the traditional culture of Hezhe will expand the existing knowledge about the nature and specificity of ethno-cultural interaction between China and the peoples of the Amur region for many centuries. An attempt is made to tell about the specifics of Chinese cultural meaning of decorative items based on fish skin. For the first time the authors treat the ornamentation of fish patterns in the traditional culture of Hezhe in a systematized form. This will allow researchers to familiarize themselves with information from Chinese sources to identify typical images of fish in Hezhe for further study of the topic of fish skin processing as art in Russia.

ДИЗАЙН ТЕКСТА В УЛИЧНОМ ИСКУССТВЕ: КОММУНИКАТИВНЫЕ СТРАТЕГИИ ГОРОДА

Street art in Russia is an actual form of contemporary art that is a response to a number of social, political, and cultural changes. However, the role and use of text in Russian street art remain insufficiently researched. The object of the study is a text in street art used by street artists in urban spaces, not only for the purpose of visual transformation but also to endow it with meanings. The methodological basis of this research is the analysis of scientific articles, books, and studies on street art, as well as interviews with artists. Comparative method, historical, and cultural analysis: the paper compares Soviet and modern textual street art objects based on the analysis of archival photographs and information from the websites of Yekaterinburg street art artists. As a result of the study, the authors come to the conclusion that the text in street art performs not only the function of visualizing ideas but also is a means of interaction and communication with society. It contributes to the formation of the way of thinking and philosophy of the whole people. Text compositions, creating a unique design code, can become the visual center of the city, its distinctive feature, and attract tourists. They create the possibility of a polymodal conversation in the urban space: between residents, active urban environment converters, and the authorities. According to the author, modern cities need to be filled with semantic texts to create spaces for an open-wall conversation

Official and informal professional associations of artists in the contemporary art space of Russia and China

The article presents an analysis of the activities of formal and informal art associations in the space of contemporary art in Russia and China. The two countries actively cooperate in the field of art, including at the institutional level, which actualizes the appeal to the work of existing creative unions. The object of attention in the framework of the study is the modern art associations of the two countries, and the subject is the relationship between the structure and activities of official and informal art associations of China and Russia. The aim is to analyze the features of the activity of art associations in the conditions of the modern art space of their countries. The analysis of the state and directions of development of both official structures and informal art groups is carried out. The former in both Russia and China, as a rule, are the continuers of the traditions of the former structures, but the original function of the guide of the political course of the leadership of the countries in them remained at different levels, mostly decreasing. The latter are communities of artists who unite by creative interests or around a common exhibition space for them, in particular galleries. Moreover, both forms successfully exist in both states, reflecting the trends of artistic life and at the same time influencing it.

Textiles without Borders. Modern Artistic Trends in Textile Art in Russia as Examplified by the Inter-Regional Artistic and Environmental Project “The Other Textile: Another Text/Another Style”

Textiles without Borders. Modern Artistic Trends in Textile Art in Russia as Examplified by the Inter-Regional Artistic and Environmental Project “The Other Textile: Another Text/Another Style”

The development of circus art in Russia until 2035 in a cultural aspect

The role of the circus in the formation of the socio-cultural environment is determined. The aim of the work is to study the circus art in Russia in a cultural aspect. The subject of the study is the culturological aspect of the development of circus art until 2035; an analysis of two models of circus art: domestic and foreign is presented. The tasks and prospects in this area are outlined, the direction of further creative development of the Russian circus system until 2035 should be the creation of qualitatively new circus programs and performances using the capabilities of related arts (theatre, cinema, stage, etc.) and the use of modern technologies. The novelty of the study lies in the definition of the main trends in the development of circus art, the definition of global and domestic trends, a description of their features. The Russian circus industry is less segmented, unlike the Western one, which is distinguished by world-class high-tech shows, traditional circus troupes, circus performers with individual numbers. In Russia, the second segment is part of the circus system due to its demand among children and families. Recommendations are proposed for improving the circus business and its popularization: popularizing the circus as a form of family leisure, improving the human resources base, providing comprehensive support to the circus sector, etc.

Коммуникативный вектор паблик-арта: глобальный масштаб в региональном локусе

This paper examines the dynamics of public art in Russia, explores specific features of the phenomenon that distinguish it from other new art forms and genres. The authors focus on the historical and cultural aspects of the interaction between Russian artists and urban space, their fruitful communication strategies and successful projects of service, art, PR communications reflecting the communicative behaviour of the artist-viewer-power in the modern information-saturated urban environment of Russia, new turns of instrumental development of territories, conceptual shifts of public art caused by including the impact of digital transformations on the culture of the city. 
 A review of various foreign and domestic studies provides a retrospective look at the interpretation of public art as a creative process, a system of communicative interaction and changes in urban space, and, at the same time, the harmonization of the environment and the person, creative understanding of the involvement of the individual to his place of residence with its cultural codes and meanings. 
 This paper will broadly trace the evolution of public art in Russia and its current scope that was enhanced by the sharp increase of the curatorial projects that deal with public art. 
 On the one hand, the demand for public art in Russia is exacerbated by the growing number of curatorial projects aimed at working with space and environment in the context of the festival and biennial movement and art residencies, and on the other hand, the increased interest of the municipal and government officials in public art as a driving force for territory and urban development.
 The article provides a comparative analysis of successfully implemented projects in various regions of Russia, which gave a new impetus to the development of public art, bringing the space closer to the population, expanding the communicative capabilities of a smart city and its creative resident.

“On the present state of the Fine Arts in Russia”: Russian Academy exhibitions of 1760s–1820s as seen by foreign visitors

The article is dedicated to the perception of Russian art, seen by foreign visitors at the exhibitions of St Petersburg Imperial Academy of Arts in 1760s–1820s. It is based on the diaries of several British travellers, as well as a German tourist Johann Christian Müller, picturing the “present state of the Fine Arts in Russia”.

К вопросу о зарождении «горного пейзажа» в русской живописи XVIII – начала XIX века

This article discusses the genesis of the mountain landscape in the history of Russian painting, which is important for the history of fine arts in Russia and which has been rarely studied. The article connects the history of the origin of this landscape genre with the period of the 18th to early 19th centuries. At the turn of the 18th century, the art of landscape painting was born in Russia. It was at this time that the mountain landscape genre attracted the attention of Russian artists who had been trained in Italy. Therefore, the painting of Italian and French masters, working in the style of classicism, significantly influenced the landscape genre in the works of Russian artists, where the mountain landscape occupies a special place. As the history of this topic has not been given enough attention, the main task of this article is to provide a brief overview of the formation of this genre in Russia. The material studied are the works of the artists Semyon Shchedrin, Fyodor Alekseev, Fyodor Matveyev, and Vasily Petrov. The methodological basis of the study, along with general scientific approaches and methods, is represented by hermeneutic logic, which is a universal methodology for the entire spectrum of sciences in the humanities. The publication of this work assumes a series of articles on landscape themes in Russian painting.

Истоки становления кафедры концертмейстерской подготовки РАМ имени Гнесиных

The proposed article is devoted to the history of the Department of Concertmaster Training of the Russian Gnessin Academy — first of all, the period of its formation. The peculiarity of the historical formation and development of the department is determined; the creative activity of E. M. Slavinskaya, who laid the foundation of the pedagogical and methodological principles of this structural unit of the university, is highlighted in detail; the line of development of the department is traced, from Slavinskaya and her students to the modern stage of development of the department. The work also presents portraits of bright performers who taught the art of piano accompaniment at the RAM im. The Gnesins. Despite the significant role in the pedagogical and concertmaster sphere, the names of these musicians are sometimes not known even to professionals. The article will be of interest to anyone who is interested in the process of formation of educational musical disciplines, as well as the development of concertmaster art in Russia.

СОЗДАНИЕ ОРЛОВСКОЙ КАРТИННОЙ ГАЛЕРЕИ В ИСТОРИИ РАЗВИТИЯ КУЛЬТУРЫ И ИСКУССТВА РЕГИОНА

The purpose of the article is to consider the history of the Orel Art Gallery creation and its organization features in the middle of the 20-th century. The relevance of the research is due to the fact that the issue of museum construction is studied insufficiently in the postwar period, as well as the specifics of the formation of new art museums and galleries collections. In many ways, the successful functioning of the es-tablished network of new cultural institutions was due to the extraordinary personalities who understand the requirements of the time to lead them. The main task is to identify the role of I.A. Krugly in solving the issues of the organization of the main directions of the gallery in the context of historical, political and social conditions of the 1950s – 1960s. Using the example of the creation of the Orel Art Gallery and the activities of I.A. Krugly, it is possible to trace the features of the development of culture and art in Russia, as well as the role of patrons and local historians in the creation of cultural institutions. The author coms to the conclusion that the study allows a deeper understanding of the cultural and historical significance of this museum and its role in the development of Orel cultural life and Russia as a whole.

Визуальный облик города и городская коммуникация средствами паблик-арта: российский опыт

This paper examines the dynamics of public art in Russia, explores the diversity of contemporary art forms beyond exhibition halls, and analyses the impact of public art on the image of “central” and “peripheral” areas, as well as on its role in urban communications between the main groups of interested parties. A review of various Russian studies provides an interdisciplinary look into the subject of public art and its evolution over time from a rather narrow definition to a wide variety of interpretations implying many new issues and concepts. Researchers attribute the increasing popularity of this artistic strategy to a combination of multidirectional factors, including the growing interest among municipal and regional authorities in public art as a driving force of territory development; a rising number of curatorial projects aimed at interacting with space and environment in the context of the festival and biennial movement and art residencies; the emergence of grassroots art organizations and initiatives as modes of making artistic or public statements. Remarkable progress in digital technologies prompted attention to the creative potential of digital forms in public art, which open up new possibilities for interaction at the interface of objective and virtual reality. Some of the conclusions suggest that further development of public art presupposes more attention to its social nature and the ability to create social ties through a polylogue between different groups of city dwellers. To encourage the development of urban art based on the principles of social justice, Russia needs to foster a culture of participation as opposed to social atomization. The creation of professional organizations, legitimization and support of grassroots initiatives and artistic self-organizations may prepare the groundwork for this process.

Interpretation of the History and Life of the Chinese People in the Works of Russian Emigrant Artists of the 1920s–1930s

The history of art in Russia and China is closely intertwined in the XX century, including thanks to the creative and pedagogical activities of Russian artists who found themselves in exile. Largely thanks to them, Harbin and Shanghai became major art centers in the 1920s–1930s. This period is characterized by fruitful processes in the country's art and culture, but also political upheavals at the same time. The problem of the study is to determine the peculiarities of the perception and interpretation by the emigrant masters of events from the life of the Chinese people, the atmosphere that prevailed in China. Thus, the subject of the study is the paintings and graphics of the largest emigrant artists of the specified period, and the object is the images of China of those years, conveyed in their works, and the means of implementing the idea. The main purpose of this article is to determine the range of themes and subjects that Russian emigrant artists addressed when creating images of contemporary China, as well as the specifics of their artistic embodiment. It is achieved by analyzing the historiography of this issue in Russian art criticism, as well as analyzing the creative works of such prominent representatives of the artistic intelligentsia in exile as M.A. Kichigin and his daughters, V.S. Podgursky, Ya.L. Likhonos, V.A. Asypkin. The study of the thematic component of their works shows that the masters were attracted by events from the life of ordinary people, as well as psychological portraits of residents of Chinese cities. Artistically, the artists remained committed to the Russian school, but allowed the influence of expressive features of Chinese painting.