Collana |
Quaderni di Venezia Arti
Miscellanea | Taking and Denying
Capitolo | Станковизм как канон и его преодоление в живописи Общества станковистов
Станковизм как канон и его преодоление в живописи Общества станковистов
- Oksana Voronina - State Institute for Art Studies (SIAS), Moscow; Moscow Museum of Modern Art, Russia - email
Abstract
This article aims to outline the range of ideas the OST members had about canonical easel painting and to show how the artists creatively interacted with these ideas in their practice. The paper is based on a selection of paradigmatic as well as little-known OST artworks and archival materials. Using formal analysis on one hand and historical analysis on the other hand, it is possible to demonstrate that the OST artists based their work on a combination of opposite technical approaches. The purpose of this research is to clarify the nature of OST art for which there was much hope in the 1920s and that subsequently became the foundation for the work of the post-war artists.
Pubblicato 22 Dicembre 2020 | Lingua: ru
Keywords Abstraction • Formula similarity • Non finito • Project Method – Dynamics • Easel painting • Compositional axes • Statics • Museum of Painterly Culture • Tangible forms • Easel Painters’ Society • VKHUTEMAS
Copyright © 2020 Oksana Voronina. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.
Permalink http://doi.org/10.30687/978-88-6969-462-2/006
Syntheses of Traditions
-
The ‘Unknown Arts’ of Ancient America: Challenging Classical Art Canons in Nineteenth-Century France
The Reception of Pre-Columbian Art before the Primitivist and Surrealist Avant-Gardes - Susana Stüssi Garcia
- 22 Dicembre 2020
- Medieval Islamic Stucco Décor vs. Soviet Architecture of Uzbekistan
- Guzel Zagirova
- 22 Dicembre 2020
Unfolding Cultural Heritage
-
Peltae subacquee e specchiature marmoree
La forma dell’acqua tra storia dell’arte e filosofia - Luca Marchetti, Beatrice Spampinato
- 22 Dicembre 2020
-
Uno scandalo nello scandalo
L’Apocalisse come eccezione nel canone neotestamentario - Ermanno Antonioli
- 22 Dicembre 2020
- Тема России, объединяющей народы, в проектах монументальной живописи Евгения Лансере
- Pavel Pavlinov
- 22 Dicembre 2020
- Станковизм как канон и его преодоление в живописи Общества станковистов
- Oksana Voronina
- 22 Dicembre 2020
Interpreting the Renaissance Art
-
Incontri, scontri, confronti
Appunti sulla ricezione della xilografia nordica in Italia tra XV e XX secolo - Lorenzo Gigante
- 22 Dicembre 2020
- Итальянская живопись ‘до Рафаэля’ в творчестве Николая Рериха
- Valentina Voytekunas
- 22 Dicembre 2020
- La pittura neorinascimentale di Dmitrij Žilinskij
- Giovanni Argan
- 22 Dicembre 2020
At the Threshold of Modern Art
- Weimar Art: Between Tradition and Avant-Garde
- Maria Belikova
- 22 Dicembre 2020
-
The Example of Vincent van Gogh
Denying Forms, Systems and Academicism in Art and Religion - Vasiliki Rouska
- 22 Dicembre 2020
-
Dispute of Canons: Book Design Traditions at the Beginning of the 20th Century
England vs France - Dmitry Lebedev
- 22 Dicembre 2020
- Comparing the Cologne Sonderbund of 1912 and the Second Post-Impressionist Exhibition in London
- Alexandra Timonina
- 22 Dicembre 2020
Hybrid as a Canon
-
Tra il foglio vuoto e lo schermo
Type e token alla prova dell’arte post-mediale - Francesco Ragazzi
- 22 Dicembre 2020
-
From Ancient to Digital
Situating Blackness in Salambo (Domenico Gaido, 1914) - Jan De Lozier
- 22 Dicembre 2020
- Timur Novikov. L’attualità del passato
- Maria Redaelli
- 22 Dicembre 2020
<rdf:RDF
xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"
xmlns:j.0="http://purl.org/...
<http://id.crossref.org/isbn/9788869694639>
a <http://purl.org/ontology/bibo/Book> ;
...
{"indexed":{"date-parts":[[2020,12,16]],"date-time":"2020-12-16T19:56:39Z","timestamp":1608148599741...
TY - GENERIC
DO - 10.30687/978-88-6969-462-2/006
UR - http://dx.doi.org/10.30687/978-88-6969-462-...
@incollection{Voronina_2020,
doi = {10.30687/978-88-6969-462-2/006},
url = {https://doi.org/10.306...
<?xml version="1.0" encoding="UTF-8"?>
<doi_records>
<doi_record owner="10.30687" timestamp="2020...
Voronina, Oksana. ‘Станковизм Как Канон и Его Преодоление в Живописи Общества Станковистов’. Taking ...
Voronina, Oksana. ‘Станковизм Как Канон и Его Преодоление в Живописи Общества Станковистов’. Taking ...
| DC Field | Value |
|---|---|
|
dc.identifier |
ECF_chapter_5046 |
|
dc.contributor.author |
Voronina Oksana |
|
dc.title |
Станковизм как канон и его преодоление в живописи Общества станковистов |
|
dc.type |
Capitolo |
|
dc.language.iso |
ru |
|
dc.description.abstract |
This article aims to outline the range of ideas the OST members had about canonical easel painting and to show how the artists creatively interacted with these ideas in their practice. The paper is based on a selection of paradigmatic as well as little-known OST artworks and archival materials. Using formal analysis on one hand and historical analysis on the other hand, it is possible to demonstrate that the OST artists based their work on a combination of opposite technical approaches. The purpose of this research is to clarify the nature of OST art for which there was much hope in the 1920s and that subsequently became the foundation for the work of the post-war artists. |
|
dc.relation.ispartof |
Quaderni di Venezia Arti |
|
dc.publisher |
Edizioni Ca’ Foscari - Digital Publishing, Fondazione Università Ca’ Foscari |
|
dc.issued |
2020-12-22 |
|
dc.identifier.uri |
http://edizionicafoscari.it/it/edizioni4/libri/978-88-6969-463-9/stankovizm-kak-kanon-i-ego-preodolenie-v-zhivopisi/ |
|
dc.identifier.doi |
10.30687/978-88-6969-462-2/006 |
|
dc.identifier.eissn |
2784-8868 |
|
dc.identifier.isbn |
978-88-6969-463-9 |
|
dc.identifier.eisbn |
978-88-6969-462-2 |
|
dc.rights |
Creative Commons Attribution 4.0 International Public License |
|
dc.rights.uri |
http://creativecommons.org/licenses/by/4.0/ |
|
item.fulltext |
with fulltext |
|
item.grantfulltext |
open |
|
dc.peer-review |
no |
|
dc.subject |
Abstraction |
|
dc.subject |
Abstraction |
|
dc.subject |
Compositional axes |
|
dc.subject |
Compositional axes |
|
dc.subject |
Easel Painters’ Society |
|
dc.subject |
Easel Painters’ Society |
|
dc.subject |
Easel painting |
|
dc.subject |
Easel painting |
|
dc.subject |
Formula similarity |
|
dc.subject |
Formula similarity |
|
dc.subject |
Museum of Painterly Culture |
|
dc.subject |
Museum of Painterly Culture |
|
dc.subject |
Non finito |
|
dc.subject |
Non finito |
|
dc.subject |
Project Method – Dynamics |
|
dc.subject |
Project Method – Dynamics |
|
dc.subject |
Statics |
|
dc.subject |
Statics |
|
dc.subject |
Tangible forms |
|
dc.subject |
Tangible forms |
|
dc.subject |
VKHUTEMAS |
|
dc.subject |
VKHUTEMAS |
| Download data |
-
file_download 5
-
search 8
-
format_quote 0
