Scientific Papers of St Petersburg Academy of Fine Arts'65. The Issues Of The Foreign Art Development

This article addresses the problematics of figurativeness in Arabic art and the typology of Arabic ornament as an element of architectural art specific to the Umayyad dynasty period. One of the characteristic features of Islamic art is the strict restrictions imposed on it by religious norms. Under these conditions, ornament acquires special significance in Arabic art. Being a special form of artistic expression, it has become widespread, including as an element of architectural decoration. The era of the Umayyads was the period of the ornament development as the most important visual means, the patterns took a central place in decoration of iconic architectural structures. At the same time, the ornament acquired various forms, each has its own characteristic, which made it possible to identify the typological specifics of the Arabic ornament of this period.

In the present article is discussed the authorship of the painting “The Punishment of Marsyas (Apollo and Marsyas)” now on show at the Picture Hall of the Ekaterininsky Palace in Tsarskoye Selo. The painting was acquired in 1958 from a private person as a work of unknown master of the Luca Giordano’s circle. Here it is recognized as an exemplary work by Giambattista Langetti. The subject, based on the antique legend of Apollo and Marsyas competition, was one of the most popular between the followers of the tenebrosi current in Italy in the middle of the 17th c. Langetti has made many interpretations of the subject. It became his real «visiting card». The painting in exampl is one of his very tipical production

The article is dedicated to the discussion of the authorship of the painting acquired in 1779 from the collection of John Udney, at that time British Consul in Venice, and formerly belonged to the Hermitage. Initially attributed to Andrea del Sarto and later regarded as a copy, it might be ascribed to Jacopo Carrucci named Pontormo. To testify to its former fame, there are many copies, and one of them is now in the collection of the Museum of the Academy of Fine Arts.

The legacy of the Italian painter Cosroe Dusi (1808–1859) includes religious and historical canvases, ceremonial and chamber portraits, romantic landscapes. The master’s works are in line with the stylistic searches of classicism, historicism and Romanticism, some works are close to the “troubadour style”. A significant body of works by Cosroe Dusi is devoted to the subjects of Italian literature and the history of the Renaissance, this concerns the images of Dante’s poetry and the images of famous artists – Michelangelo, Titian, Tintoretto. Working in Russia, he turns to themes from Russian history, resorts to the technique of encaustic, striving to achieve the effects of Byzantine painting in religious painting. The principles of historicism and romantic interpretation of the past are reflected both in plots and images, and in searches in the field of techniques and materials.

At the end of the 19th – beginning of the 20th century, the phenomenon of national and cultural revival was clearly manifested in many regions of Asia, which became a reaction to the colonial policy of Europeans in these territories. The most prominent role in this process belongs to Japan, where philosophers and art theorists have formed their own concept of “national art”, which has significantly influenced the artistic life of neighboring countries, including India.

The article examines the creative heritage of the Polish artist Jan Stanislavsky in the context of Polish-Russian artistic ties. Many years of creative communication and trusting friendship connected him with M. V. Nesterov

The exposure of the sources of Synthetism formation – the individual artistic method of Paul Gauguin – has been a theme of unfailing scientific interest over the last decades. In this study we shall focus our attention on “E. Delacroix factor” – the artist’s creative work became the matter of intense discussions between P. Gauguin, V. Van Gogh, E. Bernard in spring – summer 1888. The reevaluation of E. Delacroix’s artistic concepts, given their Ch. Baudelaire’s esthetic interpretation, manifested in their correspondence and in the modifications of their paintings plastic structure allowed Gauguin to formulate the basic theses of Synthetism methodology, and first of all the method of abstraction, with its major morphogenesis principle – that of transformation.

The article provides an overview of selected concepts of Western art history in the first half of the 20th century in terms of their indirect influence on the historiography of Pietro Cavallini’s creative work. It was important to show that despite the lack of a specific research interest in the activities of Cavallini and the Proto-Renaissance masters among such scientists as G. Wölfflin, B.Berenson, A.Warburg, E. Panofsky, the methods and approaches developed by them had a significant impact on the history of studying the art of this period in a whole.

This article is a study of the postmodernist aesthetics in the works of Belgian artist Marcel Broodthaers. The text reflects the analysis of some of the artist’s works and compares them with some ideas and concepts of postmodernist philosophers and thinkers. The article offers a detailed consideration of such concepts as sign, intertextuality, irony and hyperreality in the context of Broodthaers’ conceptual art.

The article discusses a significant period of the turn of the 1940–1950s in the history of art of post-war Italy, which was marked by the confrontation between two stylistic trends of figurative and abstract painting, which determined the picture of Italian art in the second half of the 20th century.

The article is devoted to the interpretation of the techniques of traditional Japanese painting yamato-e in the work of contemporary Japanese artist Akira Yamaguchi (b. 1969). Taking the stylistic principles of medieval painting as a basis, the artist turns to the modern world, depicting a living society – scenes in an airplane, subway, shopping center and other panoramic views. This article attempts to show the duality of time and space in the context of the development of contemporary art.

In this article, we consider a series of works that allow us to see the point of view “from the outside” on the St Petersburg landscape, to trace both the connection of St Petersburg with the European cultural space and its absolute uniqueness, expressed in the worldview of the artist. A series of city landscapes “St Petersburg –Basel” by Anna-Lena Ruff gives an extremely valuable view of the St Petersburg landscape through the eyes of the artist with a special background and allows us to research not only parallels in the metaphysics of the space of cities that are included in different cultural context, but also to find the points of crossing European and Russian schools of art education.

Leniniana is a phenomenon of continuous representation of the image of V. I. Lenin, from its origin in the 1910s to the present. All this time, Leniniana was created by both Soviet/Russian and foreign artists. However, the “foreign” image of Lenin remains practically unexplored by modern researchers. The purpose of this article is an objective demonstration of the diversity of the foreign “Lenin theme” in its historical commonality with the Soviet/Russian Leniniana. This makes it possible to expand our views not only about the image of Lenin, but also about the art of the 20–21st centuries in general.

Modern technologies provide more and more opportunities to get closer to the Past. In museum practice, it seems likely that VR catalogs or separate applications to printed publications with a demonstration of spatial models, for example, antique sculpture, which has changed its appearance over the centuries. So, looking at the statue and reading the label under it, a museum visitor should mentally imagine the difficult way of existence of a particular exhibit from the Greek original bronze that has not been preserved to the marble copy of the II century, which changed its appearance and preservation due to a long stay in the ground and restoration work of the 18th century, and finally, experienced liberation from these elements in the 20th century. Visualization of this process simplifies the perception of the sculpture, but requires the participation of not only a large team of developers, but above all a huge preliminary restoration and research work.

The article discucces methods and materials for consolidation of destructed by insects and fungi wooden supports in paintings. The author describes physical and chemical features of such consolidants as Regalrez 1126, Paraloid В-72, Acrisil-95А, PVS 5/9 and sturgeon glue in the practical aspect of their usage. There are introduced the results of their comparative research and the final recommendations in the connection with an object state of preservance and its environment