The art of J. B. Greuze had a significant influence on the formation of the genre in Russian painting. The article considers examples of interpretation of motives, images, compositions of Greuze in the works of Russian artists of the late 19th - first third of the 19th centuries.
The article is devoted to images of dwarfish beings adorning Hinduism, Buddhism and Jainism temples of ancient and medieval India. Their weird poses that are at times funny, but sometimes quite inappropriate, raise the question about their meaning and functions in the sacral space of a temple. The author attempts to interpret the images of the dwarfs from diverse points of view based on literary sources of various nature: myths and fiction, as well as doctrinal and technical texts.
The article discusses three different editions of the catalogue of the famous collection of A. S. Stroganov, written by the owner himself. The texts of the catalogues prove that Stroganov was not only familiar with the tradition of French auction catalogues, but also expressed his own original judgments about the paintings.
The article tells the story of the Dutch functionalism school and the main specific features of modernism in the Netherlands in 1940–1960-s. The author focuses on the problem of romantic heritage in frames of the Modern Movement. The philosophy of Romanticism supposed to be important part of the new architectural doctrine, that pointed up the question of a lost ideal integral peace of art. The possibility of change and fundamental reconstruction inspired several generations of Dutch architects. At the same time the stylistic variety of Dutch modernism attracts attention and is supposed to be one of the key peculiarities of the school.
The article deals with the "Russian" pictures by the Czech painter A. Mucha, including "Abolition of serfdom in Russia", as well as a series of photos made in 1913. The Moscow photos of Mucha, a well-known graphic artist and one of the main figures of the "Modern style", reflect his interest in the dynamic images: the artist liked to take pictures of people in motion and this spontaneous, "quick" photographing helped him to find new means of expressiveness. When working on his pictures and posters, Mucha used to do preliminary photos of models (he sat himself quite often) however in Moscow his experience of director and actor was supplemented by a practice of attentive observation. Particular emphases are placed on the fact that some figures were simply copied from the photos to the painting "Abolition of serfdom in Russia", so that even the angle of photographing was carefully preserved. In order to prove an eventual influence of the Russian painter V. Surikov on his Czech colleague, the article proposes a comparative analysis of the "Abolition of serfdom in Russia" and of the "Morning of Streltsy's execution".
On April 14, 1965, The New York Times reported on the upcoming solo exhibition of Pavel Korin in New York - “the first solo exhibition of an official Soviet artist in the United States, organized as part of a cultural agreement”. This article is focused on the issue of the background of the organization of this exhibition, the history of the stay of Pavel Korin and his wife in New York, their impressions of the USA, meetings with Americans and Russian emigrants, as well as the reaction of the American and Soviet press.
The article concerns perception and interpretation of the special landscape type created by the Italain painter Salvator Rosa in the French painting of the 18th century. Special attention is paid to Claude Joseph Vernet and painters of his circle.
Review of the fundamental book , which gives original interpretation of different aspects of collecting of brothers Pavel and Sergey Tretiakov.