История искусства в границах визуального архива: Аби Варбург и Андре Мальро (original) (raw)
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2016
Архивни материали, съхранявани в Берлинската галерия: епистоларна кореспонденция между инженер Борис Стоилов, художника Иван Пенков и собственика на световноизвестните берлински стъклописни цехове " Пул&Вагнер "-Август Вагнер Проекти за стъклопис в мащаб 1:1, съхранявани в Берлинската галерия (архив " Пул & Вагнер). Проектите са дело на художника Иван Пенков и по тях са изработени стъклописите, украсяващи съдебните палати в София и Русе. Фотографии: Розалия Гигова Целта на настоящата публикация е да предостави на вниманието на специалистите, проявяващи професионален интерес към развоя на българските монументално-декоративни изкуства (през периода от края на 30-те до началото на 40-те години на ХХ в.), и по-специално на стъклописта и мозайката, серия писма, разменени между инж. Борис Стоилов-представител в България на световноизвестната немска стъклописна фирма " Пул & Вагнер " , намираща се в столицата на Германия-Берлин, видния български художник Иван Пенков и собственика на споменатите берлински стъклописни цехове-Август Вагнер. Тази кореспонденция се пази днес в Берлинската галерия, която имах възможност да посетя, както и нейния архив. Обширната кореспонденция, касаеща витражи и мозайки, предназначени да украсят редица представителни обществени постройки в София.
Philosophia: e-journal for philosophy & culture, Issn: 1314-5606 , 2012
The article offers comparative analysis of two models of thinking about the "end of the art history" thesis. These models are proposed by the philosopher and art critic Arthur Danto and by the art historian Hans Belting, The analysis refers both models to their artistic contexts as well as to the different artistic and intellectual traditions they belong to. In this way I describe two narrative models to get out of the disciplinaty crisis of thinking about the contemporary artwork, the sphere/judgments of taste, and the nowadays challenges of the visual culture.
Античный портрет в трудах О. Ф. Вальдгауера и М. И Ростовцева
Античный портрет в трудах О. Ф. Вальдгауера и М. И Ростовцева // Актулаьные проблемы теории и истории искусства. Москва- Санкт-Петербург,, 2021
The main trends in the Russian Classical Studies that developed by the early 20th century gained international recognition, and were presented by the works of Vasilii Latyshev, Vladislav Buzeskul, Mikhail Rostovtsev, and Thaddeus Zielinski. These were historical-philological and cultural-historical studies, as well as those of social history. History of the art of antiquity represented by the names of Oscar Waldhauer, Vladimir Malmberg, Boris Farmakovsky and Mikhail Rostovtsev evolved from description of iconography to the research of historical and artistic problems. Russia, following European countries, demonstrated gradual separation of the history of ancient art as an independent discipline from archaeology, philology and history. A good example of this process is a research of antique portraiture. This topic became one of the key ones for Oscar Waldhauer. A student of Adolf Furtwängler and Ludwig Curtius, the representatives of German school in the late 19th and early 20th centuries, the Hermitage scholar created his sculpture catalogue based on the method of “Kopienkritik”. This method, which up to now underlies the attribution of monuments, was substantially supplemented with his studies. Logic of the research led Waldhauer to Heinrich Wölfflin’s thesis about “the history of art without names”. In the essays on the history of portrait, Waldhauer was guided by the concept that the history of art presents the history of spirit, as well as the concept of “Kunstwollen”, was adopted by him from the works of Franz Wickoff and Alois Riegl, art historians of the Vienna School. In Waldhauer's understanding, portrait style is an expression of “spirit of the times”. While in Germany Ludwig Curtius and Hans Delbrück adhered to a physiognomic interpretation, those who followed the Vienna school came to a conclusion that portrait had never imitated the appearance of a model. The evolution of portrait is subject to its own laws, autonomous from social development. Another significant contribution to the study of ancient portrait, undertaken in this period was Mikhail Rostovtsev’s work, dedicated to the bust of the Bosporan Queen Dynamis. M. Rostovtsev compared attributes and symbolic signs that cover the bust with the iconography of statues of Iranian gods and rulers originating from the Nemrud Dag mound. Identification of the monument was carried out thanks to its historical interpretation. M. Rostovtsev’s discovery of the dual nature of the Bosporan monarchy, which was a symbiosis of Greek and Iranian elements, is a brilliant analysis of various historical materials that laid grounds to defining the personage. General interest in portraiture characteristic of historiography at the beginning of the 20th century, rethinking of concepts and the search for new methods lead to discoveries. Later, Russian historiography followed a different autonomous path. While for Western European and Anglo-American science the 20th century became the “century of portraiture”, Soviet art history returned to this topic many years later, only in 1970–80s.