Marina Lopukhova | Moscow State University (original) (raw)

Papers by Marina Lopukhova

Вестник Московского университета, 2023

Женский образ, представленный на небольшой картине Филиппино Липпи «Аллегория Музыки» (Берлин, Ка... more Женский образ, представленный на небольшой картине Филиппино Липпи «Аллегория Музыки» (Берлин, Картинная галерея), скорее всего, связан с сюжетом театрализованного действа, разыгранного в 1475 г. в Пезаро по случаю свадьбы Костанцо Сфорца и Камиллы Арагонской. На сходство атрибутов героини с атрибутами музы Эрато, приветствовавшей новобрачных, указывал еще А. Варбург, разместив два изображения — доску Филиппино и иллюстрацию из ватиканской рукописи, содержащей текст свадебного представления, — рядом в своем атласе «Мнемозина». Обосновать эту версию документально нельзя, но флорентийский художник, который в формальном отношении решает сюжет не так, как анонимный североитальянский миниатюрист, мог быть знаком с описанием торжества, известным не только по иллюстрированным спискам, но и по печатным брошюрам. Появление «Аллегории Музыки» традиционно связывают со свадебным заказом — по случаю бракосочетания Джованни Веспуччи и Намичины Нерли в 1500 г., который как считается, также включал парные
спаллиеры «История Лукреции» и «История Виргинии» Сандро Боттичелли и панно Пьеро ди Козимо с изображением вакханалий. В статье приведены аргументы в пользу этой версии, которые основаны на других эпизодах сотрудничества Боттичелли и Филиппино Липпи как между собой, так и с двумя породнившимися флорентийскими семействами. Рассматриваемая картина содержит элементы, которые могут указывать на ее связь со свадебным ритуалом. Установить, как все перечисленные панно располагались в интерьере, невозможно. Однако в целом этот предполагаемый ансамбль, решенный во вкусе all’antica, мог мыслиться как прославление возвышенной и целомудренной любви. Тема, традиционная для убранства супружеской спальни, раскрывается одновременно в брутальных сюжетах из римской истории, которые во флорентийской художественной культуре обладают выраженным республиканским подтекстом, и в небольшой мифологической «поэзии», которая смягчает политические акценты и к тому же может ассоциироваться с пышной княжеской свадьбой, прославляя благородство новобрачных.

Исторические исследования, 2022

Городская резиденция в Ландсхуте. Итальянская стилевая мода и германские политические реалии Анно... more Городская резиденция в Ландсхуте. Итальянская стилевая мода и германские политические реалии Аннотация: Городская резиденция в Ландсхуте, основанная герцогом Людвигом Х Виттельсбахом в 1530-е гг., является одним из наиболее ранних в заальпийской Европе дворцовых комплексов, построенных сообразно итальянской ренессансной моде. В облике ее «итальянского здания» сказалось и прямое влияние его непосредственного архитектурного прототипа-ансамбля Палаццо Те в Мантуе, построенного Джулио Романо, и в целом тех принципов монументальной декорации, которые складываются в Италии в период высокого Возрождения и раннего маньеризма. С точки зрения программы, однако, его декоративный репертуар охватывает темы и сюжеты, характерные не только для убранства дворцов и вилл первой трети XVI века, имевших репрезентативные функции (мифологические сюжеты, не лишенные аллюзий на биографию владельца, гороскопы), но и для более ранних памятников. Таковой является восходящая к Петрарке тема uomini famosi в росписях салона дворца, так называемого «итальянского зала». При этом соседство доблестных мужей прошлого и аллегории Славы с двенадцатью подвигами Геракла, изображенных на стенах зала, вряд ли может объясняться одной лишь гуманистической риторикой в духе Петрарки. Возможно, в основе программы этого интерьера лежит пролог к «Югуртинской войне» Саллюстия, девиз из которой также помещен в «итальянском зале». Латинская цитата напоминает о конфликте между тремя сыновьями герцога Альбрехта IV Виттельсбаха, благополучное разрешение которого позволило сохранить относительную целостность Баварского герцогства. В прологе же содержатся размышления о человеческой доблести и славе, о разнообразии возможностей человеческого духа, олицетворением которых могут служить знаменитые мужи древности, а также о выборе им достойного пути-мотив, который традиционно связан с образом Геракла.

Moscow State University Bulletin, History Series, 2021

Michelangelo di Pietro Membrini (1460–1525) was a painter of the late Quattrocento, who collabora... more Michelangelo di Pietro Membrini (1460–1525) was a painter of the late Quattrocento, who collaborated with Bernardino Pinturicchio in Rome in the 1480s, and worked in Lucca at the turn of the 15th–16th centuries, when he became one of the most prominent figures of the local school of painting. During this period, the Lucchese painting was strongly influenced by the Florentine art of the 1470s–1480s: the compositional schemes of Verrocchio and Lorenzo di Credi, the balanced and elegant style of Ghirlandaio, the lyrical manner of the young Filippino Lippi. Lucca appears to demonstrate an amazing mixture of styles of various Florentine artists who left their works to the city. In terms of style, Michelangelo di Pietro is no exception, albeit he is distinguished by a specific interest in the decorative language in the antique taste and which was mastered by him in Rome, while he worked in the workshop of Bernardino Pinturicchio. The antique motifs extensively used by Michelangelo di Pietro in his mature religious paintings amount to a rather “standard” set of elements characteristic of eclectic masters and have a predominantly decorative rather than semantic function: these are architectural elements ornamented in a classical manner, music stands, candelabra and images of fantastic creatures. However, the iconography and phantasmagoric interpretation of these motifs, as well as the variety of their sources indicate that he was a fully-fledged artist in the adaptation of the classical heritage, which he could study in the originals during his sojourn in Rome. Despite the great similarity in the interpretation of the form, it is by no means determined by the influence of the artists who worked in Lucca, the acknowledged masters of all’antica decoration Amico Aspertini and Filippino Lippi. They are more similar to Michelangelo di Pietro in their interest in the Flemish artistic tradition. Neither can it be reduced to the influence of the leader of the Lucchese school of painting, Matteo Civitali, who was an ardent classicalist. It rather betrays a fondness for some of the artistic solutions which Michelangelo di Pietro borrowed in his Roman years from the monumental painting of Pinturicchio.

RSUH/RGGU Bulletin: “Literary Teory. Linguistics. Cultural Studies”, 2022

This paper deals with the paintings of Agostino Marti, who was active in Lucca in the 1510–1530s.... more This paper deals with the paintings of Agostino Marti, who was active in Lucca in the 1510–1530s. His early work was based on the local tradition of the turn of the 15th and 16th centuries, which was strongly influenced by Florentine models. Though, in the 1520s, he began to adapt the visual language of the High Renaissance. The main source of his paintings of this period was the art of Fra Bartolomeo, well known in Lucca. But both citations from the Raphael’s and Michelangelo’s Roman works in his “Marriage of Virgin” (1523) and Lucchese archives evidence that probably he visited Rome in 1517. The image of St. Andrew from the Parish church in Capannori is the further argument in favor of this suggestion. However, some spectacular details in Marti’s later paintings are similar to the prominent works of Rosso Fiorentino and Parmigianino, executed in Florence (1523) and Bologna (1527), respectively. So, we may suppose, that he traveled much in the 1520s, too. Generally, his borrowings from the High Renaissance and Mannerist art were ingenuous and not systematical. They were prepared by eclectic character of the late Quattrocento Lucchese painting which was evidently more familiar to the artist. The use of old models, such as altarpieces painted by his teacher Michele Angelo di Pietro Membrini or by Filippino Lippi, who was an iconic figure for the Lucchese school, is more natural for Agostino Marti.

Actual Problems of Theory and History of Art, 2021

The article is dedicated to interpretation of the classical tradition in the later altarpieces of... more The article is dedicated to interpretation of the classical tradition in the later altarpieces of Filippino Lippi (1457-1504). Their analyses reveal the most utilized of classical elements. Creative setting of limited details structured as “metamorphoses” makes for variety of his decorative inventory. Antique motifs and schemes agree with the Christian background while avoiding contradiction to their original meanings to evidence the painter’s profound command of the classical tradition.

The article explores peculiar forms of antique quotations, first of all, the uses of the all’anti... more The article explores peculiar forms of antique quotations, first of all, the uses of the all’antica details in Andrea Mantegna and Filippino Lippi’s paintings. It appears that there is an opposition between Mantegna’s documental vision of antiquity and Lippi’s fantasy images. But in fact, there are traces of resemblance among both some of motives and approaches and the painters’ style developments of the later period, which were adopted by a number of the Cinquecento artists

The author analyzes the principal motives of the Strozzi Chapel frescoes in Santa Maria Novella c... more The author analyzes the principal motives of the Strozzi Chapel frescoes in Santa Maria Novella church in Florence, created by Filippino Lippi in 1489–1502. A concept of the patron’s selectness is clearly conveyed and emphasized by the form and position of his funeral monument, nature of the inscriptions and the choice of the Patriarchs as the theme of the ceiling decoration. A particular attention is given to the theme of glorification through learning that is revealed by painted figures of the Muses.

Actual Problems of Theory and History of Art

Археология и художественное видение: исторические контексты, 2019

The article reviews inscriptions which accompany drawings from antiques in architectural sketchbo... more The article reviews inscriptions which accompany drawings from antiques in architectural sketchbooks of the 16th century. Studies of “genealogy” of such drawing books imply a thorough iconographical analysis: identification of depicted buildings, fragments, or motives, sources available to the author of the codex (archaeological but often secondary), exposure of general principles of the codex’ composition. However, the drawings inscriptions are also of great value. Their content is not just actual data like brief description, measurements, and indication of the fragment’s storage place. Just opposite, the text gives an impression of how the draughtsman works, what are his esthetic preferences, and in some cases, what can serve as his attribute together with his handwriting and linguistic properties. For illustrative purposes, separate sheets of the album Destailleur A from the collection of the Scientific Library of the State Hermitage Museum are reviewed and their connection to Pirro Ligorio’s Libri delle Antichità is demonstrated.

Actual Problems of Theory and History of Art

Actual Problems of Theory and History of Art

RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series

Actual Problems of Theory and History of Art

"На ионийский лад я пою..." Сборник статей в честь Н.М. Никулиной, 2018

The article is dedicated to Valentin Serov’s work on “The Rape of Europa” and “Odyssey and Nausic... more The article is dedicated to Valentin Serov’s work on “The Rape of Europa” and “Odyssey and Nausicaa” (1910-1911) which are usually taken as a painter’s search for new monumental forms and as a stylistic turn to the Art Nouveau emerged in his work in the closing stage of his life. The main attention is paid to the analysis of impressions the artist gained during his trip to Greece in 1907 which can be restored based on epistolary evidence (letters, memoirs, and Leon Bakst’s book “Serov and me in Greece”) and travel sketchbooks kept in the collection of the State Tretyakov Gallery, especially drawings made in Crete from both the landscapes and Minoan archaeological monuments. An analysis of how the Cretan impressions of Serov transformed in his mythological paintings enables to explore the nature of his late decorative style which was noted for many times as a strong tension between the artist’s strict naturalism and a new strive to the monumentality and stylization.

Readings in memory of Viktor Lazarev (2012), 2016

Вестник РГГУ. Литературоведение. Языкознание. Культурология, 2019

Вестник Московского университета, 2011

The article discusses the reflection of the classical tradition in graphic works by Filippino Lip... more The article discusses the reflection of the classical tradition in graphic works by Filippino Lippi (1457-1504). Studies after antiques, drafts of the ornamental and decorative compositions and pictures illustrating antique mythological subjects are considered. Iconographic and literature sources of these sheets, both сlassical and Renaissance, are identified, as well as compared with works of his senior colleagues and contemporaries. Studies by Lippi allow getting an insight not only into his own approaches to a classical model and unrealized masterpieces , but also mythological stories the Florentine painters of the last third of the 15 th century focused on.

Вестник Московского университета, 2023

Женский образ, представленный на небольшой картине Филиппино Липпи «Аллегория Музыки» (Берлин, Ка... more Женский образ, представленный на небольшой картине Филиппино Липпи «Аллегория Музыки» (Берлин, Картинная галерея), скорее всего, связан с сюжетом театрализованного действа, разыгранного в 1475 г. в Пезаро по случаю свадьбы Костанцо Сфорца и Камиллы Арагонской. На сходство атрибутов героини с атрибутами музы Эрато, приветствовавшей новобрачных, указывал еще А. Варбург, разместив два изображения — доску Филиппино и иллюстрацию из ватиканской рукописи, содержащей текст свадебного представления, — рядом в своем атласе «Мнемозина». Обосновать эту версию документально нельзя, но флорентийский художник, который в формальном отношении решает сюжет не так, как анонимный североитальянский миниатюрист, мог быть знаком с описанием торжества, известным не только по иллюстрированным спискам, но и по печатным брошюрам. Появление «Аллегории Музыки» традиционно связывают со свадебным заказом — по случаю бракосочетания Джованни Веспуччи и Намичины Нерли в 1500 г., который как считается, также включал парные
спаллиеры «История Лукреции» и «История Виргинии» Сандро Боттичелли и панно Пьеро ди Козимо с изображением вакханалий. В статье приведены аргументы в пользу этой версии, которые основаны на других эпизодах сотрудничества Боттичелли и Филиппино Липпи как между собой, так и с двумя породнившимися флорентийскими семействами. Рассматриваемая картина содержит элементы, которые могут указывать на ее связь со свадебным ритуалом. Установить, как все перечисленные панно располагались в интерьере, невозможно. Однако в целом этот предполагаемый ансамбль, решенный во вкусе all’antica, мог мыслиться как прославление возвышенной и целомудренной любви. Тема, традиционная для убранства супружеской спальни, раскрывается одновременно в брутальных сюжетах из римской истории, которые во флорентийской художественной культуре обладают выраженным республиканским подтекстом, и в небольшой мифологической «поэзии», которая смягчает политические акценты и к тому же может ассоциироваться с пышной княжеской свадьбой, прославляя благородство новобрачных.

Исторические исследования, 2022

Городская резиденция в Ландсхуте. Итальянская стилевая мода и германские политические реалии Анно... more Городская резиденция в Ландсхуте. Итальянская стилевая мода и германские политические реалии Аннотация: Городская резиденция в Ландсхуте, основанная герцогом Людвигом Х Виттельсбахом в 1530-е гг., является одним из наиболее ранних в заальпийской Европе дворцовых комплексов, построенных сообразно итальянской ренессансной моде. В облике ее «итальянского здания» сказалось и прямое влияние его непосредственного архитектурного прототипа-ансамбля Палаццо Те в Мантуе, построенного Джулио Романо, и в целом тех принципов монументальной декорации, которые складываются в Италии в период высокого Возрождения и раннего маньеризма. С точки зрения программы, однако, его декоративный репертуар охватывает темы и сюжеты, характерные не только для убранства дворцов и вилл первой трети XVI века, имевших репрезентативные функции (мифологические сюжеты, не лишенные аллюзий на биографию владельца, гороскопы), но и для более ранних памятников. Таковой является восходящая к Петрарке тема uomini famosi в росписях салона дворца, так называемого «итальянского зала». При этом соседство доблестных мужей прошлого и аллегории Славы с двенадцатью подвигами Геракла, изображенных на стенах зала, вряд ли может объясняться одной лишь гуманистической риторикой в духе Петрарки. Возможно, в основе программы этого интерьера лежит пролог к «Югуртинской войне» Саллюстия, девиз из которой также помещен в «итальянском зале». Латинская цитата напоминает о конфликте между тремя сыновьями герцога Альбрехта IV Виттельсбаха, благополучное разрешение которого позволило сохранить относительную целостность Баварского герцогства. В прологе же содержатся размышления о человеческой доблести и славе, о разнообразии возможностей человеческого духа, олицетворением которых могут служить знаменитые мужи древности, а также о выборе им достойного пути-мотив, который традиционно связан с образом Геракла.

Moscow State University Bulletin, History Series, 2021

Michelangelo di Pietro Membrini (1460–1525) was a painter of the late Quattrocento, who collabora... more Michelangelo di Pietro Membrini (1460–1525) was a painter of the late Quattrocento, who collaborated with Bernardino Pinturicchio in Rome in the 1480s, and worked in Lucca at the turn of the 15th–16th centuries, when he became one of the most prominent figures of the local school of painting. During this period, the Lucchese painting was strongly influenced by the Florentine art of the 1470s–1480s: the compositional schemes of Verrocchio and Lorenzo di Credi, the balanced and elegant style of Ghirlandaio, the lyrical manner of the young Filippino Lippi. Lucca appears to demonstrate an amazing mixture of styles of various Florentine artists who left their works to the city. In terms of style, Michelangelo di Pietro is no exception, albeit he is distinguished by a specific interest in the decorative language in the antique taste and which was mastered by him in Rome, while he worked in the workshop of Bernardino Pinturicchio. The antique motifs extensively used by Michelangelo di Pietro in his mature religious paintings amount to a rather “standard” set of elements characteristic of eclectic masters and have a predominantly decorative rather than semantic function: these are architectural elements ornamented in a classical manner, music stands, candelabra and images of fantastic creatures. However, the iconography and phantasmagoric interpretation of these motifs, as well as the variety of their sources indicate that he was a fully-fledged artist in the adaptation of the classical heritage, which he could study in the originals during his sojourn in Rome. Despite the great similarity in the interpretation of the form, it is by no means determined by the influence of the artists who worked in Lucca, the acknowledged masters of all’antica decoration Amico Aspertini and Filippino Lippi. They are more similar to Michelangelo di Pietro in their interest in the Flemish artistic tradition. Neither can it be reduced to the influence of the leader of the Lucchese school of painting, Matteo Civitali, who was an ardent classicalist. It rather betrays a fondness for some of the artistic solutions which Michelangelo di Pietro borrowed in his Roman years from the monumental painting of Pinturicchio.

RSUH/RGGU Bulletin: “Literary Teory. Linguistics. Cultural Studies”, 2022

This paper deals with the paintings of Agostino Marti, who was active in Lucca in the 1510–1530s.... more This paper deals with the paintings of Agostino Marti, who was active in Lucca in the 1510–1530s. His early work was based on the local tradition of the turn of the 15th and 16th centuries, which was strongly influenced by Florentine models. Though, in the 1520s, he began to adapt the visual language of the High Renaissance. The main source of his paintings of this period was the art of Fra Bartolomeo, well known in Lucca. But both citations from the Raphael’s and Michelangelo’s Roman works in his “Marriage of Virgin” (1523) and Lucchese archives evidence that probably he visited Rome in 1517. The image of St. Andrew from the Parish church in Capannori is the further argument in favor of this suggestion. However, some spectacular details in Marti’s later paintings are similar to the prominent works of Rosso Fiorentino and Parmigianino, executed in Florence (1523) and Bologna (1527), respectively. So, we may suppose, that he traveled much in the 1520s, too. Generally, his borrowings from the High Renaissance and Mannerist art were ingenuous and not systematical. They were prepared by eclectic character of the late Quattrocento Lucchese painting which was evidently more familiar to the artist. The use of old models, such as altarpieces painted by his teacher Michele Angelo di Pietro Membrini or by Filippino Lippi, who was an iconic figure for the Lucchese school, is more natural for Agostino Marti.

Actual Problems of Theory and History of Art, 2021

The article is dedicated to interpretation of the classical tradition in the later altarpieces of... more The article is dedicated to interpretation of the classical tradition in the later altarpieces of Filippino Lippi (1457-1504). Their analyses reveal the most utilized of classical elements. Creative setting of limited details structured as “metamorphoses” makes for variety of his decorative inventory. Antique motifs and schemes agree with the Christian background while avoiding contradiction to their original meanings to evidence the painter’s profound command of the classical tradition.

The article explores peculiar forms of antique quotations, first of all, the uses of the all’anti... more The article explores peculiar forms of antique quotations, first of all, the uses of the all’antica details in Andrea Mantegna and Filippino Lippi’s paintings. It appears that there is an opposition between Mantegna’s documental vision of antiquity and Lippi’s fantasy images. But in fact, there are traces of resemblance among both some of motives and approaches and the painters’ style developments of the later period, which were adopted by a number of the Cinquecento artists

The author analyzes the principal motives of the Strozzi Chapel frescoes in Santa Maria Novella c... more The author analyzes the principal motives of the Strozzi Chapel frescoes in Santa Maria Novella church in Florence, created by Filippino Lippi in 1489–1502. A concept of the patron’s selectness is clearly conveyed and emphasized by the form and position of his funeral monument, nature of the inscriptions and the choice of the Patriarchs as the theme of the ceiling decoration. A particular attention is given to the theme of glorification through learning that is revealed by painted figures of the Muses.

Actual Problems of Theory and History of Art

Археология и художественное видение: исторические контексты, 2019

The article reviews inscriptions which accompany drawings from antiques in architectural sketchbo... more The article reviews inscriptions which accompany drawings from antiques in architectural sketchbooks of the 16th century. Studies of “genealogy” of such drawing books imply a thorough iconographical analysis: identification of depicted buildings, fragments, or motives, sources available to the author of the codex (archaeological but often secondary), exposure of general principles of the codex’ composition. However, the drawings inscriptions are also of great value. Their content is not just actual data like brief description, measurements, and indication of the fragment’s storage place. Just opposite, the text gives an impression of how the draughtsman works, what are his esthetic preferences, and in some cases, what can serve as his attribute together with his handwriting and linguistic properties. For illustrative purposes, separate sheets of the album Destailleur A from the collection of the Scientific Library of the State Hermitage Museum are reviewed and their connection to Pirro Ligorio’s Libri delle Antichità is demonstrated.

Actual Problems of Theory and History of Art

Actual Problems of Theory and History of Art

RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series

Actual Problems of Theory and History of Art

"На ионийский лад я пою..." Сборник статей в честь Н.М. Никулиной, 2018

The article is dedicated to Valentin Serov’s work on “The Rape of Europa” and “Odyssey and Nausic... more The article is dedicated to Valentin Serov’s work on “The Rape of Europa” and “Odyssey and Nausicaa” (1910-1911) which are usually taken as a painter’s search for new monumental forms and as a stylistic turn to the Art Nouveau emerged in his work in the closing stage of his life. The main attention is paid to the analysis of impressions the artist gained during his trip to Greece in 1907 which can be restored based on epistolary evidence (letters, memoirs, and Leon Bakst’s book “Serov and me in Greece”) and travel sketchbooks kept in the collection of the State Tretyakov Gallery, especially drawings made in Crete from both the landscapes and Minoan archaeological monuments. An analysis of how the Cretan impressions of Serov transformed in his mythological paintings enables to explore the nature of his late decorative style which was noted for many times as a strong tension between the artist’s strict naturalism and a new strive to the monumentality and stylization.

Readings in memory of Viktor Lazarev (2012), 2016

Вестник РГГУ. Литературоведение. Языкознание. Культурология, 2019

Вестник Московского университета, 2011

The article discusses the reflection of the classical tradition in graphic works by Filippino Lip... more The article discusses the reflection of the classical tradition in graphic works by Filippino Lippi (1457-1504). Studies after antiques, drafts of the ornamental and decorative compositions and pictures illustrating antique mythological subjects are considered. Iconographic and literature sources of these sheets, both сlassical and Renaissance, are identified, as well as compared with works of his senior colleagues and contemporaries. Studies by Lippi allow getting an insight not only into his own approaches to a classical model and unrealized masterpieces , but also mythological stories the Florentine painters of the last third of the 15 th century focused on.