Artistic Intelligentsia Research Articles

The Film Ivan by Oleksandr Dovzhenko in the Light of the Soviet Intelligence Services

A set of archival documents of the Soviet secret services (agent messages, reports, summaries, etc.) related to Dovzhenko’s work on the film Ivan in 1931–1932 is analyzed in the article. Ivan is just the film that has the largest number of documents of this kind among the works. The agents have informed the secret services about the work on the script, its passage through the censorship authorities, and the filming period in their reports. The criticism of the author has started in Ukraine after the completion of the film. During this period the agents have recorded the artist’s difficult moral and psychological state, his negative statements against the Ukrainian party leadership and representatives of the literary and artistic intelligentsia, and the measures taken by the leaders of the Ukrainian and Soviet cinematographers to level the negative assessment of the film in the press. Relevant experts have been engaged to write reviews to obtain more complete information about the film. The director has been forced to move to Moscow because of the considerable pressure and negative attitude in Ukraine. He is introduced to Joseph Stalin there. The dictator has liked the movie. Following Stalin, official criticism also has changed its mind about Ivan, and the film was allowed to be shown. Dovzhenko was saved from seemingly certain death. The director has soon started work on his next film, called Aerograd. But the Soviet secret services did not let the artist out of their sight in Moscow. In general, the surveillance of O. Dovzhenko during his work on the film Ivan was part of a much wider range of operational activities of the special services to obtain compromising materials about the artist’s “anti-Soviet” activities and continued until his death.

Wartime living of Salomėja Nėris. Lithuanian writers in Penza in 1941

The article uses recently discovered memoirs to portray the everyday life of writers evacuated to Penza, including Salomėja Nėris, whose character and biographical events related to the early war period are the focus of this study. The poet’s daily life, view of current events, as well as her literary activities and family affairs are reconstructed based on the reminiscences of her husband P. Veržbilauskas. The article details the locals’ perception of the phenomenon of evacuees arriving from various Soviet republics, quoting common people as well as party bureaucrats. It investigates the creative crisis faced by the evacuated intelligentsia and their dealing with this through consolidating their writers’ community. The relevance of the study stems from the fact that the testimonies by members of artistic intelligentsia have considerable cognitive potential for reconstruction of Penza’s everyday life culture during the Great Patriotic War. The article introduces a body of archived sources subjected to scholarly analysis for the first time.

The role of scientific and artistic intelligentsia in the salvation of cultural values (1917–1927)

The article deals with the actual problem of attitude to cultural heritage after the change of the model of social development in Russia in 1917. The contradictory processes of registration and preservation of historical and artistic values are analyzed. Based on archival sources, the activities of the All-Russian Board for the Protection of Monuments of Art and Antiquity and its local branches are shown. The role of scientific and artistic intelligentsia in saving cultural values is emphasized. The characteristics of such representatives as V.N. Peretz, M.N. Tikhomirov, K.K. Romanov, N.G. Porfiridov, L.A. Durnovo, et al are given. It is indicated that many cultural devotees in the difficult post-revolutionary period helped to preserve historical and cultural monuments with their modest work. Using their example, a collective image of such ascetics is given, the most striking features of which were the deepest intelligence, high professionalism, selfless service to society and culture, complete absence of any mercantile interests, extraordinary dedication to their work and deep awareness of their mission to save cultural values, perseverance and perseverance in its implementation. It is concluded that specialists trained in this field were involved in the rescue of artistic and historical values, thanks to which it was possible to preserve a significant part of Russia’s cultural heritage and its richest traditions.

ХУДОЖЕСТВЕННАЯ ИНТЕЛЛИГЕНЦИЯ КАК СУБЪЕКТ ОБЩЕСТВЕННОГО ДОГОВОРА В ПЕРИОД КУЛЬТУРНОЙ РЕВОЛЮЦИИ В СССР (1930-Е ГГ.)

The article considers features of the social contract between the artistic intelligentsia and the Soviet political elite during the cultural revolution in the USSR. In that period the social contract was still paternalistic in nature, but being based not only on violence, but also on consent, on the general idea of implementing the social and cultural revolution and on benefits of various kinds that the creators could get from the new government. Since the late 20s, the management by the sphere of culture and art began to be centralized and the state became the main subject of cultural policy. Strict ideological control over the cultural process was carried out as well as the persecution of aesthetic dissent. At the same time, loyal cultural figures are rewarded through government orders and by being given high social status, high salaries, granting rights to publications, personal exhibitions and business trips abroad, awards and prizes, solutions for household and family concerns, etc. The principle of “socialist realism” was declared as the dominant creative principle. The Soviet party and state leadership enjoyed exceptional opportunities to influence the formation and change of the public consciousness of the Soviet people through cultural production.

Perpetuation of the memory of an outstanding countryman as a social practice: the name of M.A. Vrubel in the urban space of Omsk in 1923

The subject of the study is the social practice of the Omsk intelligentsia in the 1910s-1923 in order to perpetuate the memory of the artist M.A. Vrubel (1856-1910). The problem of preserving the historical memory of famous personalities of the past in the public consciousness is very relevant in modern historical science, since it largely determines the image and historical and cultural potential of the region. At the beginning of the XX century, the desire of the intelligentsia of large cities for the right to transform them into cultural and artistic centers of the region was recorded on the territory of Siberia. In this situation, the continuity of provincial and metropolitan culture, primarily carried out through famous countrymen, played an important role. In the 1910s, the appeal to the personality of M.A. Vrubel was of great importance in determining the identity of the Omsk artistic intelligentsia, ensuring the high status of Omsk as a cultural center of Siberia, as well as the heir and admirer of the creative traditions of the famous countryman. The subject field of the study correlates with the "history of memory", in which the treatment and attitude to the name of M.A. Vrubel in Omsk directly depended on historical time, the emergence of new needs, practices and meanings. Methodologically, the study is based on a socio-cultural approach that allows us to consider the role of M.A. Vrubel's personality in improving the image of Omsk in general, as well as the cultural level of its residents, in particular. Despite the fact that the personality of the master is important in determining the historical and cultural potential of Omsk, the information related to the initial stage of perpetuating his memory in the city is fragmentary. Based on archival documents, periodical materials and research on the topic, the authors characterized the process of founding the Omsk Art and Industrial College, as well as naming it after M.A. Vrubel in 1923, which laid the foundation for further involvement of the famous artist's name in the historical and cultural heritage of the region. It is concluded that despite the fact that M.A. Vrubel left Omsk in early childhood, subsequently the significant contribution of the master to the development of Russian art made his personality significant for the formation of the historical and cultural landscape of his native city.

Penza’s “Agit-Windows” in Cultural Legacy of Great Patriotic War

This article focuses on the creative activities of the Penza poster workshop “Agit-Window” — a provincial equivalent of the “TASS Window” for creating large-format mass publications during the period of the Great Patriotic War. For the first time, archival documents are introduced into scientific circulation. The creative practices of the group of artists who organized the production of agitational materials in Penza are described. The cultural interaction of the artistic intelligentsia at the level of “union center — province” is characterized. The role of the heritage of the Penza art school in the creation and development of the genre of military-defense posters is highly appreciated, as well as the contribution of those artists who were evacuated to Penza during the war. The author focuses on describing the content of the posters “Agit-Window” published in Penza, attempts to classify and differentiate them from other artistic practices. Based on an analysis of surviving original posters, the narrative and artistic evolution of Penza’s “Agit-Window” is traced through its visual features and methods of creation. The author concludes that despite cyclical periods of liquidation and restoration, the Penza workshop for military-defense posters maintained its distinctive style and contributed to the creation of vivid examples of satirical and patriotic graphics.

РАБОТА ДЕЯТЕЛЕЙ ИСКУССТВА В ПРОЦЕССЕ РАСПРОСТРАНЕНИЯ ЗНАНИЙ О ХУДОЖЕСТВЕННОМ НАСЛЕДИИ ИРКУТСКОЙ ГУБЕРНИИ НА РУБЕЖЕ XIX-XX ВВ. (ПО МАТЕРИАЛАМ ТВОРЧЕСКИХ И НАУЧНЫХ ОРГАНИЗАЦИЙ)

The article traces the process of the art people’s participation in organizing ed-ucational work and transmitting knowledge about the artistic heritage of the Irkutsk province at the turn of the XIX-XX centuries. The materials found about the activities of the artists in creating exhibition venues and studying the works that were preserved in the cities made it possible, on the one hand, to understand how many unique monuments are on the territory of the province and, on the other hand, to explain what the public attitude was to the preserva-tion and inclusion of art objects in the collections of the museums. The artistic intelligentsia of Irkutsk not only organized the events, but suggested imple-menting new public projects for the inhabitants. While studying the docu-ments, the participants of the exhibition venues were identified and the work of some active masters in introducing national schools of painting to the inhab-itants was considered. The article presents the peculiarities of the research work of the artists of the creative and scientific societies who turned to the study and development of the region, acquaintance with the achievements in science, education, and art. The study includes the documents that show the work of the artists at the turn of two centuries.

Corporate and Personal Relations among the Literary Intelligentsia in the 1920s

The article examines the important issue of corporate and personal relations among the literary intelligentsia in the 1920s, which influenced significantly the development of not only the literary and artistic process but the course of the ideologization of cultural life in Soviet Ukraine as well. By examining the formation and confrontation of literary groups, the author investigates the consequences of the struggle in the intelligentsia’s environment. Besides, highlighting interpersonal relations, the author shows its influence on the results of the writers’ activity in the conditions of Ukrainization and pressure from the totalitarian state. The turbulent literary process in the 1920s was largely defined by the presence of various movements and groups in the USSR (Ukrainian Socialistic Soviet Republic) among literary figures. They waged a fierce, often destructive ideological struggle. The Bolshevik regime was able to give this struggle the character of an ideological confrontation and, consequently, to transfer it to the political area. Thus, in the conditions of totalitarian communist discourse the Soviet authorities got the opportunity to use this circumstance as a ground for political and physical destruction. At the same time, it was very difficult for the Bolshevik authorities to control horizontal corporate, and especially personal, ties. That is why the process of constant surveillance of literary and artistic figures was launched. The examples of H. Kosynka, M. Khvylovyi, and other writers show that this process was aimed not only at total control, but also at influencing the environment of cultural figures. This influence had an impact on the formation of an atmosphere of general fear and widespread distrust in the society of the cultural and artistic elite. And, as a consequence, the severance of horizontal ties, atomization and institutional weakening of the literary and artistic intelligentsia. It is determined that the Ukrainian literary and artistic intelligentsia in the paradigm of its own vision of the goals and objectives of Ukrainization, which were different from those of the governing Party, actually became a counter-elite for the Bolshevik party. This was the fundamental reason for the confrontation between the regime and the writers of the 1920s. Having used corporate and personal confrontation among writers, the Communist Party soon began to destroy intellectuals in Soviet Ukraine.

THE MUSICAL CULTURE AND EDUCATION DEVELOPMENT IN THE TAVRIA GOVERNORATE IN THE SOUTH OF UKRAINE IN THE LATE 19th AND EARLY 20th CENTURIES

The article examines musical culture and education formation and development in the Tavria governorate in the late 19th and early 20th centuries. This period in the Southern region of Ukraine is characterized as an era of social and cultural uplift, progressive changes in the educational system, and enhancing the role and place of music and singing in students’ education. Moreover, it is marked by increased attention of the governorate residents to the problems of musical and aesthetic education of children and youth, the growth of public and private educational initiatives, and the formation of general and professional music education.The article identifies the reasons for the greater intensity of the education system development in the Crimean districts compared to the mainland ones; it also provides statistical data on the people’s literacy and education rate in the Tavria governorate in the early 20th century. The article also explains the role of private musical institutions and the influence of the artistic intelligentsia, outstanding musicians and composers on the musical culture and education development in the region.The article highlights that in the late 19th century, Yalta became – to a certain extent – a cultural centre of the Tavria governorate due to its well-developed concert and theatre infrastructure. Yalta and Simferopol have become a focus of establishing public associations with outreach, organizational, musical and educational functions. Activities of the members of these musical societies in Crimean cities resulted in the opening of music courses and classes and one of the first people's music schools in the Russian Empire with free-of-charge tuition. Besides, they arranged public concerts, music evenings, and tours of prominent composers and musicians.The article provides a historical analysis of the establishment of branches of the Imperial Russian Musical Society (IRMS) in the Tavria governorate, the role of the IRMS in the concert, performance and educational activities, its impact on the cultural, educational and social processes in the South of Ukraine, in particular, the establishing the institution of a secondary level of professional musical education – the Simferopol Musical College.

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.

СОЗДАНИЕ НАУЧНО-ПРОМЫШЛЕННЫХ ВЫСТАВОК ПО РЕЗУЛЬТАТАМ ЭКСПЕДИЦИОННОЙ РАБОТЫ ВОСТОЧНО-СИБИРСКОГО ОТДЕЛА ИМПЕРАТОРСКОГО РУССКОГО ГЕОГРАФИЧЕСКОГО ОБЩЕСТВА ВО ВТОРОЙ ПОЛОВИНЕ XIX — НАЧАЛЕ XX ВВ.

The article presents the history of the creation of scientific and industrial exhibitions based on the results of the expeditionary work of the East Siberian Department of the Imperial Russian Geographical Society in the second half of the 19th – early 20th centuries. Participation in the design of exhibition pavilions of masters and collectors is considered. The educational work of the artistic intelligentsia was aimed not only at creating collections of unique art objects, which included materials from scientific expeditions, but also at presenting the best works to the inhabitants of Baikal Siberia. Artists and collectors participated in the design of international and regional exhibitions, which demonstrated rare and valuable exhibits based on the results of the scientific work of a public organization. As a result of the study, documents on the history of the creation of scientific and industrial exhibitions from the archives of the Irkutsk Regional Art Museum named after I.I. V.P. Sukachev and the State Archives of the Irkutsk Region. Letters and correspondence of members of the society about the construction of work plans for exhibition projects provide an opportunity to present in detail the features of the collection of objects, the formation and maintenance of contacts between scientists, collectors, Siberian and Western artists. Thanks to the presentation of the collections at the exhibition pavilions, the knowledge of the inhabitants about the unique historical places of Baikal Siberia was expanded. As a result of a detailed analysis of archival documents, the features of the design of exhibitions were determined and the educational work of the artistic intelligentsia was studied. The study confirmed that the process of creating scientific and industrial exhibitions based on the results of the expeditionary work of the society was aimed at familiarizing residents with the cultural and natural heritage, replenishing the museum's funds with paintings created by masters of Baikal Siberia.

ВКЛЮЧЕНИЕ В СОСТАВ НАУЧНЫХ ЭКСПЕДИЦИЙ ХУДОЖЕСТВЕННОЙ ИНТЕЛЛИГЕНЦИИ ИРКУТСКОЙ ГУБЕРНИИ ПО ИССЛЕДОВАНИЮ БАЙКАЛЬСКОЙ СИБИРИ И СЕВЕРА ВО ВТОРОЙ ПОЛОВИНЕ XIX — НАЧАЛЕ XX ВВ.

The study analyzes archival documents that reveal the life and work of individual representatives of the artistic intelligentsia in the context of their inclusion in scientific expeditions to explore Baikal Siberia and the North in the second half of the 19th — early 20th centuries. It is confirmed that the active work of R.S. Prorokov, A.N. Turunov, M.Ya. Leibovich, N.A. Andreev, F.M. Belkin influenced the process of forming their own, unique collections of paintings, drawings, sketches, sculptures and books in museums and galleries of the Irkutsk province. Also, public figures participated in the organization of public art events, where rare and valuable exhibits based on the results of scientific work were demonstrated. In the State Archives of the Irkutsk Region and the archives of the Irkutsk Regional Art Museum. V. P. Sukacheva found constituent and accompanying documents, reports and plans, posters and announcements, sources of periodicals, letters and correspondence, which confirm the participation of collectors and artists in scientific expeditions. The work allows, on the basis of sources of personal origin, to consider the history of the development of contacts between art collectors, the features of holding art events, both international and regional levels. An integrated approach is used in the analysis of letters, correspondence of collectors, which helps to determine the value orientations of urban society in art. As a result of the study, it was proved that the activities of the intelligentsia influenced the process of introducing citizens to the cultural heritage and the formation of collections of art objects in the Irkutsk province of the second half of the 19th — early 20th centuries.

Национальная художественная интеллигенция Бурят-Монголии и советская власть: специфика взаимоотношений

The article analyzes the specificity of the formation of cultural policy, forms and methods of its implementation in the Buryat-Mongolian ASSR in 1920-1930s. The reasons and consequences of politicization of the cultural space of the national region are considered. The article focuses on such professional groups of the Buryat-Mongolian artistic intelligentsia as writers, artists, directors, and painters.

Художественная интеллигенция Байкальской Сибири в процессе организации научных экспедиций во второй половине XIX – начале XX века

The relevance of the article is determined by the fact that the work of the artistic intelligentsia of Baikal Siberia was restored in the process of organizing scientific expeditions in the second half of the 19th - early 20th centuries. The study makes it possible to consider in detail the main stages of the organization of expeditionary and exhibition work of scientific associations, based on the identified evidence. The article showed how art collections in museums and galleries were formed based on the results of studying the cultural heritage of indigenous peoples and the natural resources of remote territories, materials were exhibited at public city sites. The purpose of the work is to present the work of the artistic intelligentsia of Baikal Siberia in the process of organizing scientific expeditions in the second half of the 19th - early 20th centuries, based on evidence found in the archives. The objectives of the study are as follows: to analyze sources from the State Archives of the Irkutsk Region, the Irkutsk Regional Art Museum. V. P. Sukachev about the life and work of masters, the organization of expeditionary and exhibition work; identify the difficulties that were identified as a result of the activities of artists. Methodology. The work adheres to the principles of historicism, consistency and scientific objectivity. The his-torical-genetic and problem-chronological methods are used. Results. As a result of the use of those identified in the State Archives of the Irkutsk Region and the Irkutsk Regional Art Museum. V. P. Sukachev of historical documents, the history of the exhibition and expeditionary work of the artistic intelligentsia of Baikal Siberia in the second half of the 19th - early 20th centuries was restored. It is confirmed that the activity of the masters influenced the formation of collections of art objects in museums and galleries. Conclusions. The study revealed the main stages of participation of the artistic intelligentsia in expeditions to study the cultural heritage of indigenous peoples and the natural resources of Baikal Siberia in the second half of the 19th - early 20th centuries. The work presents documents from the Siberian archives, which makes it possible to restore the activities of the masters.

УЧАСТИЕ ЖИТЕЛЕЙ БАЙКАЛЬСКОЙ СИБИРИ В ОФОРМЛЕНИИ ПАРИЖСКОЙ ВСЕМИРНОЙ ВЫСТАВКИ 1900 Г. (ПО МАТЕРИАЛАМ ГОСУДАРСТВЕННОГО АРХИВА ИРКУТСКОЙ ОБЛАСТИ)

The article examines the history of the participation of the inhabitants of Baikal Siberia in the Paris World Exhibition of 1900. M. D. Butin (1835–1907), the history of the creation of his art collection. The work confirms that M. D. Butin participated in the design of the Paris World Exhibition. The study reveals the content side of the international art event for the Baikal region. Various representatives of the public (merchants, artists, scientists, teachers) were involved in the process of preparing the event, since many residents studied the history, features of the development of Siberia. All this allows us to conclude that as a result of participation in the exhibition, M. D. Butin created favorable conditions for the development of socio-cultural ties of the region with Western and Eastern states. Mikhail Dmitrievich's activities influenced the process of familiarizing residents with art objects. He supported the work of public organizations, scientific expeditions, art exhibitions and other educational events. The entrepreneur believed that if you prepare and organize open areas for society, then it is possible to raise the level of its well-being. As a result of expeditions, writing scientific papers, Mikhail Dmitrievich showed how the region should develop. Many interests and ideas of M. D. Butin in various fields of culture were realized during his lifetime and after by other representatives of the artistic intelligentsia of Baikal Siberia.

SOURCES ON THE HISTORY OF CINEMATOGRAPHY IN THE PROVINCIAL PERM AT THE END OF THE 19TH - BEGINNING OF THE 20TH CENTURIES: TOWARD FINDING AND STUDYING

In this paper, we take a case study of Perm at the end of XIX and the beginning of XX century to discuss the introduction and distribution of cinema in the Russian province. We relied on a few groups of sources such as films, both archival and publicly available, ego-documents by filmmakers, the Silver Age artistic intelligentsia and the audience, as well as periodicals, cine magazines and local provincial newspapers. In addition, we considered legal acts and clerical documents. For contextual analysis, we involved photographs, objects of material culture (architecture of cinemas and objects of the Art Nouveau era). We argue that the history of film distribution in the province can only be studied within a wider context of film production in the Russian Empire. Different in their origin, genre, even tactile properties, the sources reveal many aspects of the social history of cinema and cultural reality of the early twentieth century.

УКРАЇНСЬКА АКАДЕМІЯ МИСТЕЦТВ: ІСТОРИЧНИЙ ПОСТУП (1917 – 1920)

The aim of the research is to reveal the preconditions, history of the opening and functioning of the Ukrainian Academy of Arts (hereinafter – UAA) – the first institution of higher art education in Ukraine in 1917 – 1920. The research methodology is based on the principles of historicism, objectivity in the assessment of historical events and phenomena, systematics and comprehensiveness, which together allowed to reveal the subject field of research. The scientific novelty of the article is that despite the presence of historical and artistic explorations about the UAA, its functioning during 1917 – 1920 is a relevant poorly studied subject of special complex historical and art studies. The general scientific significance of the study of the history of the UAA is in the reconstruction of the complete, holistic process of organization and activity of the UAA as the first artistic institution of higher education of the period of national and cultural revival of 1917 – 1921. A wide range of historiographical and source base of the researched problem by domestic and foreign scientists during 1917 – 2020 has been analysed. The role of the Ukrainian Central Council, the General Secretariat of Education, the artistic elite in the establishment and activity of the UAA has been characterised. The normative and legal bases of its organization by means of the analysis of statutory documents have been traced. The main directions of work of the first professors (M. Boichuk, M. Burachek, M. Zhuk, V. Krychevskyi, F. Krychevskyi, A. Manevych, O. Murashko, H. Narbut) and rectors of the UAA (F. Krychevskyi, O. Murashko, H. Narbut, M. Burachek,) have been determined. The information on the art exhibition of the first professors of the UAA, organized on the opening day of the Academy, December 5, 1917, has been given. The work on the creation of the National Art Gallery at the Academy has been indicated. It is claimed that almost the entire revolutionary period (1917 – 1921) has been marked for the UAA by difficulties of the organizational, material, educational and methodological nature, which negatively affected the course of the educational process. The Conclusions. It is concluded that despite the short academic status of the UAA (1917 – 1922), in the extremely difficult revolutionary, military and political, socio-economic conditions, the academy was formed as a leading centre of national and cultural revival in Ukraine, the centre for consolidation of artistic intelligentsia, it gained popularity among the general population and it gained prestige in the artistic environment of the European countries. The foundation for the development of the Ukrainian culture, laid on the initiative of the creative intelligentsia, continued to develop even in the chaos of the civil war and revolution. The UAA, which began its activities so brilliantly in 1917, was subsequently subjected to devastating blows from the Bolshevik political system. First of all, the most talented leading pedagogues felt distress. The financial insolvency of art schools forced their leaders to resort to self-financing through the organization of production workshops. Turbulent revolutionary events later led to destructive processes in the UAA. Key words: Ukrainian Academy of Arts; art institution of higher education; fine arts; national and cultural revival; Ukrainian revolution.

Гений художника через призму его моделей

The essay, which consists of two parts, analyzes the female images of two great artists Botticelli and Picasso. The essay has the character of an art history study with memoir interweaves. In the first part, the author makes an attempt to decipher the genius of Botticelli using the technique of analyzing the prototype of the artist's heroine and comparing it with the image of a real woman, similar to the Botticelli model. The artist's genius is revealed through the type created by him, in a sense — invariant, of a beautiful woman, the spiritual and material image of which is repeated in reality. The energy of Botticelli's paintings, which is their secret, allowed the author to see in life a real copy of the artist's heroine. Using the archive of preserved personal letters of a beautiful lady, as if she descended from Botticelli's paintings “Spring” and “The Birth of Venus”, the author draws an analogy the epistolary legacy with cinema, when events are described not in strict chronological order, but rather individual important moments and experiences are highlighted and are scaled. According to the letters, the author reconstructs the character of his heroine and hypothetically transfers these character traits to the Botticelli model, about whose character there is almost no evidence left. The second part of the essay is inspired by a photograph of Picasso's wife Olga Khokhlova, preserved in the personal archive of the author's friends. The author embeds his story about the muse and the great love of Picasso and about his other paradoxical models in the circumstances of his personal life, in the situation of his youth, comparing the revolutionary changes in art at the beginning of the XX century with the moods of the representatives of the artistic intelligentsia of the 70s of the past century. The heroines of Picasso and the strange interweaving of the fate of the participants in the author's narrative represent the content of this part of the essay.

Революция 1917 г. в восприятии художественной интеллигенции: историко-философский анализ

Революция 1917 г. в восприятии художественной интеллигенции: историко-философский анализ

Соғыстан кейінгі жылдардағы Қазақстан шығармашылық одақтарының материалдық жағдайы

The article discusses the socio-material situation of the artistic intelligentsia and creative unions of Kazakhstan in the post-war years. The most active of the creative unions was the Union of Writers of the country, which did not have their own premises, not to mention the rest of the creative associations. The building of the Writers ‘Union, consisting of five or six small rooms, housed five blocks: two magazines, a literary fund, a copyright office, and all departments of the Writers’ Union. Even in the fiftieth, this issue was acute on the agenda. And the Union of Composers did not even have such premises. The house of composers was built only in 1969. This circumstance was also characteristic of the Union of Architects, Filmmakers, Journalists and Artists. The difficult social and material situation of the artistic intelligentsia of Kazakhstan was due to the lack of independent publishing houses, their own printing houses and a fair assessment of the work of the artistic intelligentsia. And also, it is shown the role of other factors affecting the socio-material status of the artistic intelligentsia.