Regional Art Museum Research Articles

Figurative and stylistic analysis of Givi Mantkava's work “The Nivkhi Archers” (1974) from the collection of the Sakhalin Regional Art Museum

Figurative and stylistic analysis of Givi Mantkava's work “The Nivkhi Archers” (1974) from the collection of the Sakhalin Regional Art Museum

Paleolithic portable art in the collections of the Irkutsk Regional Art Museum (Buret’ site)

The collection of Buret’ site is one of the most important archaeological complexes of the Upper Paleolithic of Siberia. The decorative elements on the mobile art found at the site marks the “classical stage” of the Upper Paleolithic. Field research was carried out in 1936-1940, under the general leadership of A.P. Okladnikov. In the 2000s, due to new research methods and data obtained on the stratigraphy and archeology of cultural remains, the comprehension of the object changed. This article examines the issues of morphology, manufacturing technology and decoration of ivory sculptures in the collection of the V.P. Sukachev Irkutsk Regional Art Museum, excavated in 1940. During the research it was established that in the materials of Buret’, as in the “classic” Mal’ta’s Paleolithic collection, there were various technological methods for making anthropomorphic and zoomorphic figures, using a stable set of tools and technological standards. The technology for producing portable art objects on the territory of the Buret’ site is in many ways similar to that used at the Mal’ta site. The research revealed the main patterns of production for each of the identified morphological types of items at both sites. For each of the types of mobile art objects studied, the basic technology of their production was adapted and acquired characteristic features, manifested in the specifics of using the main tools. Systematization of the data obtained during the analysis of the material made it possible to exclude the version of a random, chaotic selection of the tools used. It should be noted that among the relatively low-quality production of most objects of Buret’s portable art, one example of ornithomorphic sculpture stands out, distinguished by the skill and care of its production, based on the use of more advanced technology and careful processing of ivory tusk. We assume that the production of portable art at the Buret’ site was serial in nature and did not have the features of individual craftsman creativity. The use of universal tools of production indicates the priority of mass production over individual motives.

The Ancient Egyptian Female Mummy-Cover of the 21st Dynasty in the Collection of the I.N. Kramskoy Voronezh Regional Art Museum

The article is a publication of an Ancient Egyptian anonymous mummy-cover of the Dynasty 21, kept in the collection of the I.N. Kramskoy Voronezh Regional Art Museum (Inv. no. 2 ДВ). This item is a part of the burial assemblage of a noble Egyptian woman, originating from the secret tomb of the Theban priests at Bab el-Gasus. Initially, the mummy-cover entered in the museum of the Yuryev (Tartu) Imperial University, where it ended up after the distribution of antiquities from the so-called “Russian lot” – a diplomatic gift from the Khedive Abbas II Hilmi. In fact, the mummy-cover had only twice become the subject of brief scholar publications: in the summary work of B.A. Turaev, dedicated to Egyptian antiquities in the collections of the Russian Empire (1899) and in the catalogue of Egyptian objects from museums of the former USSR, compiled by O.D. Berlev and S.I. Hodjash (1998). Thus, the relevance of the article is determined by the necessity for a new separate publication of the object, which would include along with its description the graphic reproduction and transliteration of inscriptions. The article is hence mainly devoted to the description and typological classification of the mummy-cover decoration and layout. According to O.D. Berlev, the mummy-cover should be considered as belonging to the Theban priestess Nesytaudjatakhet, whose inner and outer coffins were included in the “Russian lot” as well. Nevertheless, taking into account the recently identified archival documentation concerning the “Russian lot,” the attribution of the mummy-cover requires further investigation and additional verification.

A Personal History of the Civil War in Alexander Valevsky’s Drawings

The analysis of graphic works by the amateur artist A. N. Valevsky (1896–1938) from the collection of the Ulyanovsk Regional Art Museum makes it possible to get a subjective view of the events of the Civil War in Russia. An officer of Kolchak’s army and later a commander of the Red Army, in his drawings, Valevsky recorded not only the everyday realities of the era but also his own experiences and feelings. The famous Soviet painters of the 1920s‑1930s (M. B. Grekov, A. A. Deineka, K. S. Petrov-Vodkin, B. V. Johanson, etc.) avoided any personal interpretation of the events and independent assessments of the revolutionary cataclysms in their epic paintings dedicated to the Civil War. Such a thing is rare in the works of White émigré artists. On the other hand, amateur artists, for whom the documentation of events happening around and internal experiences was a vital need, more often allowed themselves to interpret the history of the “Russian troubles”. Valevsky created his drawings between 1921 and 1925, after the artist’s return to peaceful life and, thus, they can be perceived as memories of what he had experienced. The manner of his graphic works is diverse; they combine grotesque techniques with an attempt to capture reality, and tragic episodes go hand in hand with romantic and comical. In many compositions, the author includes examples of urban and military folklore, lines from poems, romances, and ditties popular among ordinary people. This technique gives the plots both the “spirit of the times” and metaphoricism important for a work of art – the meaningfulness of images. According to the article, the examination of the material also gives a feeling of the autobiographical nature of the entire graphic cycle.

ХУДОЖЕСТВЕННЫЙ МУЗЕЙ КАК ЦЕНТР КУЛЬТУРНОГО ПРОСТРАНСТВА РЕГИОНА

The main theoretical concept of the author is the concept of cultural space based on P. Bourdieu's theory of social space. The article substantiates the idea of the role of the regional art museum in the regional cultural space. The author defines this role as a system-forming one. The article presents statistical data on the dynamics of the development of museums in the Siberian Federal District from open sources. Justifying the system-forming role of the Novosibirsk State Art Museum in the region, the author cites the facts of the socio-cultural activity of the museum. The article concludes on the need for cooperation between museums and other institutions. The author considers it necessary to find a balance between preserving cultural heritage and adapting to the changing preferences and needs of visitors.

ЭКСПЕДИЦИОННАЯ РАБОТА ДЕЯТЕЛЕЙ ИСКУССТВА ПО СБОРУ МАТЕРИАЛОВ ДЛЯ СОЗДАНИЯ ВИДОВ МЕСТНОСТЕЙ И ПОСЕЛЕНИЙ ОКРЕСТНОСТЕЙ БАЙКАЛА ВО ВТОРОЙ ПОЛОВИНЕ XIX — НАЧАЛЕ XX ВВ.

The study is aimed at restoring the main stages of the expeditionary work with the participation of famous artists in collecting materials to create types of localities and settlements in the vicinity of Lake Baikal in the second half of the 19th – early 20th centuries. Archival documents about the activities of E.E. Meyer, S.E. Vronsky and B.I. Lebedinsky as part of research groups. It is proved that the plots of the paintings of Western travel artists differed from those similarly made by local masters. This phenomenon is due to the fact that foreign and metropolitan artists lacked deeper knowledge in determining localities, highlighting the features of the region, thereby they missed many important details. The work of artists focused on the creation of works that presented the surroundings of Baikal extensively and from different angles. The artists showed the completed canvases to the residents at public exhibitions, in the future, many works remained in the funds of local museums. In the archives of the Irkutsk Regional Art Museum. V.P. Sukachev and the State Archives of the Irkutsk Region, personal files and materials on the activities of such artists as E.E. Meyer, S.E. Vronsky and B.I. Lebedinsky. The collections preserved detailed correspondence between museum staff and relatives of the painters, impressions and reviews of contemporaries, exhibition visitors, clippings of articles from pre-revolutionary periodicals, which must be presented in this article. The study confirmed that in the process of organizing and conducting expeditionary work by the scientific community, new types of neighborhoods of settlements in the Irkutsk province and the Trans-Baikal region were created. The activities of scientists and artists focused on studying the cultural and natural heritage, replenishing the museum's funds with paintings that depicted the region, highlighted its features and development prospects.

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.

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.

Establishment and development of the Zakarpattia Regional Art Museum during the Soviet and post-Soviet period

The article deals with the preconditions for the formation and stages of establishment of the Zakarpattia Regional Art Museum in Uzhhorod as one of the main cultural and historical centres in the region of scientific, educational and artistic direction. It traces the historical milestones of the cultural and national renaissance in Zakarpattia, which was annexed to the Czechoslovak Republic under the name of Carpathian Ruthenia in 1919 after the collapse of the Austro-Hungarian monarchy, as well as in the post-war period during the Soviet era. The preconditions for the opening of the museum in Uzhhorod and the ways in which the first museum collections were formed have been studied; the activity of persons who played key roles in the formation of the art museum is described.

СТРОГО НА СЕВЕР: ОСВОЕНИЕ АРКТИКИ В ПРОИЗВЕДЕНИЯХ ХУДОЖНИКОВ.

The article provides an overview on the history of the Kola Arctic region and the Arctic artistic exploration based on the “Straight to the North” temporary exhibition in Murmansk Regional Art Museum, 2019. Pieces of icon painting, decorative and applied arts, books, household items, painting and graphic arts and collection of the Kola Peninsula minerals were exhibited there. Some art works are described in details: paintings of Russian artists of the late 19th and early 20th centuries and Soviet artists, including painters from Murmansk and members of “The Arctic” creative team in 1978–1985. The authors analysed, how social and economic development of the Kola Arctic region influenced new art styles and directions: from plein air painting under the Extreme North conditions to industrial landscapes and creation of an art community. The authors dedicate the article to the memory of Honored Artist of the Russian Federation, the leader of “The Arctic” creative team Arvi Ivanovich Huttunen (31.08.1922–27.08.2020).

Vladimir Platonovich Sukachev — philanthropist, public figure, collector, founder of the Irkutsk Regional Art Museum

The article examines the significance of the personality and activities of Vladimir P. Sukachev in the history of public life and culture of Irkutsk. It emphasizes his role as the founder of the Irkutsk Art Museum, the initiator of many scientific research in Siberia and neighboring countries, an intellectual who created a unique example of a “cultural nest” in the Russian province. The main stages of the formation of the collection are presented, a number of the most significant works that make up its core are noted. The study uses a historical and biographical method based on archival sources.В статье рассматривается значение личности и деятельности Владимира Платоновича Сукачёва в истории общественной жизни и культуры Иркутска. Подчеркивается его роль как основателя Иркутского художественного музея, инициатора многих научных исследований Сибири и близлежащих стран, интеллектуала, создавшего уникальный образец «культурного гнезда» в российской провинции. Представлены основные этапы формирования коллекции, отмечен ряд наиболее значительных произведений, составляющих ее ядро. В исследовании использован историко-биографический метод с опорой на архивные источники.

On the attribution of Russian original graphics of the 20th century from private collections in the Irkutsk Regional Art Museum named after V.P. Sukachev

The article is devoted to the attribution of the original graphics of the 20th century from private collections in the collection of the Irkutsk Regional Art Museum named after V.P. Sukachev. The stages of studying a particular work of art are described in detail. Attention is paid to the research of recent years, which allows us to talk about the ongoing work with objects from museum collections. As a result of the study, based on the source studies and comparative stylistic methods, it was possible to clarify the attribution of a number of illustrations to literary works, small-format watercolors and some drawings. Such works include, for example, the works of N.V. Kuzmin, T.A. Mavrina; K.S. Petrov-Vodkin, described in the article. Статья посвящена атрибуции оригинальной графики XX века из частных коллекций в собрании Иркутского областного художественного музея им. В. П. Сукачёва. Подробно расписаны этапы изучения того или иного произведения искусства. Уделено внимание исследованиям последних лет, позволяющим говорить о непрекращающейся работе с предметами из музейных коллекций. В результате исследования с опорой на источниковедческий и сравнительно-стилистический методы удалось уточнить атрибуцию ряда иллюстраций к литературным произведениям, небольших по формату акварелей и входящих в серии рисунков. К числу таких произведений относятся, например, работы Н.В. Кузьмина, Т.А. Мавриной, К.С. Петрова-Водкина, описанные в статье.

THE INNOVATIVE FORMS IN THE ACTIVITY OF REGIONAL ART MUSEUM OF VINNYTSIA AS THE IMPORTANT REGIONAL CENTER OF CULTURE AND EDUCATION

The article has revealed and founded the innovative forms in the activity of Regional Art Museum of Vinnytsia. The research methodology is based on the systemic, structural, functional and active approaches. It makes possible to analyze the development and functions of Regional Art Museum of Vinnytsia, to determine the main directions, types of work and innovative forms of the museum activity as well as to show the role and significance of such important regional cultural and educational establishment. It is admitted that due to the introduction of innovative forms and modern technologies the museum has transformed its activity and has remained relevant to the contemporary audiences

Династия Васнецовых: малые детали большого наследия

The article is devoted to the study of the cultural trace of the Vasnetsov family on the Kuban land, represented by artists (Yury A. Vasnetsov, Elizaveta Yu. Vasnetsova), career soldiers (Nikolai A. Kuznetsov) and teachers (Elena N. Shcherbakova). Based on publications, archival materials stored in the fund of the Krasnodar F. Kovalenko Regional Art Museum, as well as their own findings, the authors restore the once-forgotten connections of the famous name with the city of Yekaterinodar (presently Krasnodar).

Natalya Sergeevna Sysoeva: the artist, teacher, art critic, public figure

The article is devoted to the Irkutsk artist Natalya Sysoeva, chairman of the Irkutsk branch of the Union of Artists of Russia, director of the Irkutsk Regional Art Museum, painter, author of still-lives and landscapes. In addition, Natalya Sysoeva was engaged in teaching activities both in art educational institutions of Irkutsk and at PJE University, Republic of Korea. Thanks to her energy, organizational skills, several large international projects have been carried out with universities and art schools in Russia, Korea, China, Mongolia. Under her curatorship, more than two dozen albums, catalogues dedicated to the work of Irkutsk artists and the collection of the Irkutsk Art Museum have been published. Статья посвящена творческой деятельности иркутского художника Натальи Сергеевны Сысоевой, председателя Иркутского регионального отделения ВТОО «Союз художников России», директора Иркутского областного художественного музея им. В.П. Сукачёва, живописца. Помимо этого, Н.С. Сысоева много лет преподавала как в художественных учебных заведениях Иркутска, так и в университете Pai Chai, Республика Корея. Благодаря ее энергии, организаторским способностям осуществлено несколько больших международных проектов с университетами и художественными училищами России, Кореи, Китая, Монголии. Под ее кураторством издано более двух десятков альбомов, каталогов, посвященных творчеству иркутских художников и коллекции Иркутского художественного музея.

Региональный художественный музей как субъект социальной коммуникации

Цель настоящей статьи – выявление сущности субъектности регионального художественного музея через рассмотрение его как универсального культурного феномена, проявляющего универсальные общеродовые признаки в различных социокультурных условиях. Исследование выполнено на материалах российских и зарубежных исследований в сфере культурологии, истории и социологии. Автором применены деятельностный, структурно-функциональный и семиотический подходы. Выявлены элементы, составляющие субъектность регионального художественного музея: музейные коллекции, штат сотрудников, совокупность посетителей, уникальность музея, его участие в культурной политике, реконструкция программирующих свойств культуры на глобальном, национальном и региональном уровнях коммуникативного взаимодействия. Изучение обозначенной темы позволяет сделать вывод о том, что сущность субъектности регионального художественного музея состоит в осуществлении социальных инвестиций в доступной только ему форме усиления ценности сохраняемого им культурного наследия региона. The aim of the study is to identify the essence of the subjectivity of the regional art museum by considering it as a universal cultural phenomenon that manifests universal common generic characters in various sociocultural conditions. The study is based on materials from Russian and foreign studies in the field of cultural studies, history, and sociology. The methodological basis was the activity, structural-functional, and semiotic approaches. The author explores the ultimate state of the museum in the system of cultural life, indicating that in any social conditions its essence consists not only in the preservation of collections, but also in their actualization through educational and sociocultural activities. The totalityof museum visitors is interpreted as one of the components of its subjectivity, along with collections and staff. The number of visitors depends on the uniqueness of the museum, which is also an integral part of subjectivity. It is determined that the activities of the museum cannot be fully tied to the goals and objectives of cultural policy, since museum collections potentially have a comprehensive value. Participation in cultural policy therefore acts only as an element constituting the subjectivity of the museum. The author indicates that an important task of the work of the regional art museum is to popularize the culture of the region at the national and global levels, realizing which, such a museum becomes the subject of world culture. It is emphasized that the museum provides a communicative connection between generations, while acting as a subject organizing its own metacommunicative space. In this space, cultural meanings are reconstructed and the dialectical tension of communication is allowed. It has been established that the museum realizes the resource potential of its collections through value differentiation of the results of artistic creation and art, as well as by placing cultural heritage in relevant aspects of social discourse. The author concludes that the essence of the subjectivity of the regional art museum consists in making social investments in the form (accessible exclusively to this institution) of strengthening the value of the cultural heritage of the region that it preserves. Regional and national cultural policies normatively and strategically regulate the sociocultural activities of the regional art museum, but do not limit its subjectivity in social communication and activities. At the same time, the subjectivity of the museum largely determines its image and social success.

Некоторые ранние бурятские иконы-танка из собрания Иркутского областного художественного музея имени В.П. Сукачева

В статье рассматриваются некоторые ранние произведения бурятской буддийской живописи из собрания Иркутского областного художественного музея имени В.П. Сукачева с изображением одних из наиболее популярных в народе персонажей пантеона – будды Амитабхи, бодхисаттвы-спасительницы Зеленой Тары, защитника учения Махакалы, божества долголетия Белого Старца. Акцент делается на своеобразии старинной бурятской живописи XVIII в. Иконы-танка этого периода обладают монументальностью, своеобразием колорита, отсутствием лишних деталей. Автор проводит их иконографический, композиционный, типологический, художественный анализ, исследуются особенности колористического решения икон. Подчеркивается уникальность ранней бурятской живописи и возможность развития ее характерных особенностей на пути инноваций в современной буддийской живописи. The author of the article studies some early Buryat Buddhist thangka (painted scrolls) from the Sukachev Irkutsk Regional Art Museum. Of a great number of gods of Buddhist pantheon author researches those, who were especially popular among Buryats. These are Buddha Amitabha, Green Tara, wrathful dharmapala Mahakala, god of longevity White Old Man. Author investigates the system of composition, iconography, colour of Buryat Buddhist icons. The emphasis is on the originality of ancient Buryat painting of the XVIII century. The thangka icons of this period have monumentality, specific features of color, and the absence of unnecessary details.

Судьба картины А.А. Пластова «Ужин трактористов» (1951)

Статья посвящена одному из самых замечательных произведений советской эпохи – картине выдающегося советского художника Аркадия Александровича Пластова «Ужин трактористов» (1951 года), которая с 1952 года хранится в Иркутском областном художественном музее имени В.П. Сукачева. Судьба этой картины складывалась драматично. В сталинское время она была подвергнута критике как не соответствующая идейным канонам социалистического реализма и, отвергнутая столичными музеями, оказалась в собрании Иркутского областного художественного музея. Ее триумф пришелся на времена хрущевской «оттепели», когда картина прославилась не только на выставках в нашей стране, но и далеко за рубежом. Возросшая оценка живописного полотна стала причиной претензий на него со стороны Третьяковской галереи. Сотрудникам сибирского музея удалось вернуть картину в свою коллекцию. А для Государственной Третьяковской галереи А.А. Пластов в 1961 г. создал ее повторение. На основе документов автор статьи опровергает возникшие в искусствоведческой литературе неточности в толковании судьбы этой картины. The article is about one of the most remarkable works of the Soviet epoch – the painting “Dinner of Tractorists” (1951) by the outstanding Soviet artist Arkady Plastov. This painting is kept in the Sukachev Irkutsk Regional Art Museum. The fate of this picture was dramatic. In Stalin's time, it was criticized as not corresponding to the ideological canons of socialist realism and, rejected by the capital's museums, ended up in the collection of the Irkutsk Regional Art Museum. The triumph for the painting came in the mid-1950s – 1960s, when it became famous not only at Russian exhibitions, but also far abroad. The increased appreciation of the painting became the reason for pretension on it from the Tretyakov Gallery. The staff of the Irkutsk museum managed to return the painting to its collection. And Arkady Plastov created the replay for the State Tretyakov Gallery in 1961. Based on the documents, the author of the article refutes the inaccuracies in the interpretation of the fate of this picture that arose in the literature of art history.

Автопортрет в живописи иркутских художников конца XX века

В статье рассматриваются автопортреты иркутских художников, созданные в период 1980–2000 гг. и хранящиеся в собрании Иркутского областного художественного музея имени В.П. Сукачева. Два последних десятилетия ХХ века стали временем глобальных общественных и политических перемен, последствия которых отразились на жизни граждан. Попытка сопоставления глубоко личных произведений искусства и исторических событий, происходящих параллельно их созданию, дает возможность оценить, как внешняя среда влияет на творческий процесс художника. Приведен искусствоведческий анализ автопортретов Г. Новиковой, В. Кузьмина, Н. Вершинина, Н. Башарина В. Смагина, Б. Десяткина, Л. Гимова, В. Чевелева. The article deals with self-portraits of Irkutsk artists created in the period of 1980–2000 and stored in the collection of the Irkutsk Regional Art Museum named after Vladimir Sukachev. The last two decades of the twentieth century were a time of global social and political changes, the consequences of which affected the lives of citizens. An attempt to compare deeply personal works of art and historical events that occur in parallel with their creation makes it possible to assess how the external environment affects the artist's creative process. An art history analysis of self-portraits of G. Novikovа, V. Kuzmin, N. Vershinin, N. Basharin, V. Smagin, B. Desyatkin, L. Gimov, V. Chevelev.