Будрина Л.А. (2021) Каталоги, указатели и отчеты Всемирных и Всероссийских выставок как источник информации о развитии камнерезного искусства России (к идентификации екатеринбургских кустарей) / Catalogues and rapports of the World' and National exhibitions as a source of the information.... (original) (raw)
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Ural Historical Journal № 2 (71), 2021
In the 19th century stone-cutting art has become one of the brightest elements in the representation of the Russian Empire. World’s fairs provided ample opportunities for this representation. The article examines the structure of the collections and the list of the exhibitors at one of the largest fairs — The World’s Columbian Exposition of 1893. The paper draws upon both published and archival documents, including those which have not yet been used for the examination of the representation of Russia’s stone art at this exhibition. It reconstructs mineralogical, technical and typological diversity of the exhibited items and the principle of reciprocal completing of the exhibitors. It also analyzes the items presented by the imperial Petergof, Ekaterinburg lapidary and Kolyvan grinding factories, by Carl Woerffel’s enterprise and a wide range of small Ural producers as well. Due to the discovery of archival materials, a number of items, exhibited in Chicago, was identified in the museum collections in Russia and abroad. Some attributional details for the exhibited Woerffel items are offered which made it possible to propose the authorship and dating for the items from Russian and foreign collections. The author is also the first to analyze the collection, purchased at the exhibition from the Russian stonecutters for The Field Museum of Natural History in Chicago. A conclusion is drawn about the role of the coloured stones items and the importance of their presentation for the formation of the Russian Empire’s image as one of the most important world centers of the decorative stones development.
Уральский исторический вестник, 2023
Russian stone-cutting art of the soviet period represents a relatively new field of art historical research related to issues of style and image of works. The article is dedicated to the analysis of those questions on the one example from the assortment of the Sverdlovsk-based factory “Russkie samotsсvety” (“Russian gems”) of the 1940s–1960s. On the base of the unpublished archival documents and a large choice of the art works discovered in the museum collections in Russia and abroad the article covers the following issues – formation of the type of casket (laretz) under the influence of the post-war interest in the heritage of ancient Russian art which reflected the impact on the artistic search of the early 20th century “Russian style”; a number of technological details, the choice of materials, including expanding the palette of colored stones used, as well as its actual narrowing; gradual minimization of the precious stones decoration; market aspects of production. For some of the works in this publication, attribution information is provided for the first time. Particular attention is paid to the circulation of objects on the international art market, as well as the use of caskets as diplomatic gifts from Soviet government to foreign leaders in the 1950s. In conclusion, a reasoned correction to the established attribution of works is proposed.
Quaestio Rossica, 2018
The history of the art of stone carving in Russia is closely connected with the country’s foreign policy. Works from the Yekaterinburg Lapidary Factory were sometimes distributed around different countries and continents as diplomatic gifts or a demonstration of gratitude from the Russian emperors. It is essential to examine the circumstances in which said objects left the country to be able to reveal the works of Ural stonecutters and assess the scale of production and the level of craftsmanship. As a result of such investigations, researchers not only manage to discover objects and attribute them (even when such information is completely lost) but also find obscure connections and parallels in the role they played in solving diplomatic issues. The author carries out such research by studying two malachite vases designed by I. I. Halberg in 1838 and made by masters of the Yekaterinburg Lapidary Factory between 1864 and 1865. The two vases symbolise the complex situation of British and Russian policies in the Middle East and the internal expansion of Russian rail transport. One of the vases was given to a Persian shah and the other to a British financier. However, only together do they help form an idea of the complex processes of the epoch in question
ГАНЗЕЙСКИЙ СОЮЗ: ОТ ЗАРОЖДЕНИЯ К ВОЗРОЖДЕНИЮ Сборник статей Международной научной конференции молодых ученых. Великий Новгород, 2022, 2022
Благодаря особому благоволению венгерских королей из династии Анжу в XIV в. Кошице приобрел ряд привилегий, позволяющих городу стать ключевым транспортным узлом Центральной Европы, осуществляющим обмен товарами не только в направлении Север - Юг, но и Восток - Запад. Данная статья посвящена венгерской пушнине (ungersches werk) как важному и традиционному экспортному артикулу этого города. Анализируются предпосылки экспорта пушнины, торговые маршруты и дается характеристика основных групп, занимающихся продажей пушнины. Изучение малоизвестных городов на территории Венгрии, провязанных экономическими отношениями с главными ганзейскими портами, показывает ширину и организованность Ганзы. Акцент на вывоз пушнины также подчеркивает факт, что, несмотря на доминирующую роль Новгорода в ее экспорте, другие страны и города смогли составить определенную конкуренцию.
This article focuses on the study of the decorative and applied art of the 19th century — the issue of attribution of authorship in the conditions of borrowing and transfer of taste, active cross-cultural contacts, the cosmopolitan art of the neostyle period, and the establishment of the industrial reproduction of decorative objects based on the principle of replication of a sample. This paper considers a specific source of borrowing (L’art industriel, an engraved album of Leon Feuchère’s drawings, 1839) and the interpretation of three samples from this illustrated edition by Russian masters of stonecutting of the second half of the 19th century. The authors compare the approach towards the original in the works of the Malachite factory of the Demidov family (1847–1851) and the Imperial Kolyvan Polishing Factory, carried out in the 1870s according to the designs of Ivan A. Zlobin. The pieces of art analysed in this article are kept in the Royal Collection of Great Britain (for the first time in history, the authors provide information about two works of Russian masters in the collection), in the Mineralogical Museum of Alexander E. Fersman of the Russian Academy of Sciences (Moscow), and Hotêl de Ville (Paris). Additionally, the authors consider sources from the library of Institut national de l’histoire de l’art (Paris, Doucet collection) and the collection of the Ministry of the Imperial Court of the Russian State Historical Archive (St Petersburg). Having analysed the aforementioned sources and compared them with graphic prototypes, the authors conclude that it is necessary to complete the existing attribution of the authors of stonecutting works with data about the original artworks. Referring to particular examples, the authors prove that it is impossible to only rely on a narrowly national approach to the history of Russian stonecutting art and that this art should be studied in the European context.