The Actual Problems of History and Theory of Art, 2012
The research is devoted to the artistic movement the “Novecento italiano” that emerged in the pos... more The research is devoted to the artistic movement the “Novecento italiano” that emerged in the post-war period, institutionalized in 1922, one month after the famous fascist “March on Rome”, and subsequently enlarged to a nationwide level. Analysis of the evolution of “Novecento Italiano” from 1922 to 1930 is indispensable for understanding the problem of existence of the state art or a single artistic style during Mussolini era.
Nadezhda Evseevna Dobychina, whose name is strongly associated with the Art Bureau, which operate... more Nadezhda Evseevna Dobychina, whose name is strongly associated with the Art Bureau, which operated in St. Petersburg (Petrograd) from 1911 to 1919, possessed a significant collection of works of art by her contemporaries. The central part of the collection consisted of the works of the artists of the “World of Art” (“Mir Iskusstva”) circle, as well as the associations “Blue Rose” and “Union of Russian Artists”. From the lists of the collection preserved in the Dobychina’s archive, made at the initiative of representatives of the Soviet state in 1919, 1924 and 1930, one can trace how the collection developed in the first post-revolutionary decade. Nadezhda Dobychina gave preference to figurative art, in her property there were practically no abstract works, and the leftist trends of the avant-garde were also not represented. Most of the works kept by Dobychina were graphics (watercolors, pencil drawings and charcoal sketches), however, it should be noted that a block of bright painti...
Эмиграция как текст культуры: историческое наследие и современность, 2020
In 1964–1966 the part of Puni-Boguslavskaya archive was donated to
the Bibliothèque Nationale de ... more In 1964–1966 the part of Puni-Boguslavskaya archive was donated to the Bibliothèque Nationale de France. The earliest letters from this archive relating to the first years of emigration (I. Puni and his wife arrived in Berlin in October 1920, and moved to France in 1923), allow us to recreate a social network ties with representatives of the European art world (from L. Moholy-Nagy to A. Salmon); correspondence with relatives reveals a number of previously unknown biographical aspects. A significant part of the archive is the correspondence block of Boguslavskaya, who restored relations with many old friends after visiting the USSR in 1959. Documents from the archive is the rarest material of great value both for art historians and for researchers of life, personal and professional relations of representatives of Russian artistic emigration.
The Art of Eurasia, 2021, No. 2 (21), pp. 92–103, 2021
Nadezhda Evseevna Dobychina, whose name
is strongly associated with the Art Bureau, which
operate... more Nadezhda Evseevna Dobychina, whose name is strongly associated with the Art Bureau, which operated in St. Petersburg (Petrograd) from 1911 to 1919, possessed a significant collection of works of art by her contemporaries. The central part of the collection consisted of the works of the artists of the “World of Art” (“Mir Iskusstva”) circle, as well as the associations “Blue Rose” and “Union of Russian Artists”. From the lists of the collection preserved in the Dobychina’s archive, made at the initiative of representatives of the Soviet state in 1919, 1924 and 1930, one can trace how the collection developed in the first post-revolutionary decade. Nadezhda Dobychina gave preference to figurative art, in her property there were practically no abstract works, and the leftist trends of the avant-garde were also not represented. Most of the works kept by Dobychina were graphics (watercolors, pencil drawings and charcoal sketches), however, it should be noted that a block of bright paintings, perfectly combined in style and color, stood out in her collection (“Dawn” by D.S. Stelletsky, “Heat” by M.S. Sariyan, “Portrait of Dobychina” by N.I.Altman and others). The collection changed over time, but its central part remained unchanged despite all the vicissitudes of the owner’s eventful life.
The Actual Problems of History and Theory of Art, 2012
The research is devoted to the artistic movement the “Novecento italiano” that emerged in the pos... more The research is devoted to the artistic movement the “Novecento italiano” that emerged in the post-war period, institutionalized in 1922, one month after the famous fascist “March on Rome”, and subsequently enlarged to a nationwide level. Analysis of the evolution of “Novecento Italiano” from 1922 to 1930 is indispensable for understanding the problem of existence of the state art or a single artistic style during Mussolini era.
The Actual Problems of History and Theory of Art, 2012
The research is devoted to the artistic movement the “Novecento italiano” that emerged in the pos... more The research is devoted to the artistic movement the “Novecento italiano” that emerged in the post-war period, institutionalized in 1922, one month after the famous fascist “March on Rome”, and subsequently enlarged to a nationwide level. Analysis of the evolution of “Novecento Italiano” from 1922 to 1930 is indispensable for understanding the problem of existence of the state art or a single artistic style during Mussolini era.
Nadezhda Evseevna Dobychina, whose name is strongly associated with the Art Bureau, which operate... more Nadezhda Evseevna Dobychina, whose name is strongly associated with the Art Bureau, which operated in St. Petersburg (Petrograd) from 1911 to 1919, possessed a significant collection of works of art by her contemporaries. The central part of the collection consisted of the works of the artists of the “World of Art” (“Mir Iskusstva”) circle, as well as the associations “Blue Rose” and “Union of Russian Artists”. From the lists of the collection preserved in the Dobychina’s archive, made at the initiative of representatives of the Soviet state in 1919, 1924 and 1930, one can trace how the collection developed in the first post-revolutionary decade. Nadezhda Dobychina gave preference to figurative art, in her property there were practically no abstract works, and the leftist trends of the avant-garde were also not represented. Most of the works kept by Dobychina were graphics (watercolors, pencil drawings and charcoal sketches), however, it should be noted that a block of bright painti...
Эмиграция как текст культуры: историческое наследие и современность, 2020
In 1964–1966 the part of Puni-Boguslavskaya archive was donated to
the Bibliothèque Nationale de ... more In 1964–1966 the part of Puni-Boguslavskaya archive was donated to the Bibliothèque Nationale de France. The earliest letters from this archive relating to the first years of emigration (I. Puni and his wife arrived in Berlin in October 1920, and moved to France in 1923), allow us to recreate a social network ties with representatives of the European art world (from L. Moholy-Nagy to A. Salmon); correspondence with relatives reveals a number of previously unknown biographical aspects. A significant part of the archive is the correspondence block of Boguslavskaya, who restored relations with many old friends after visiting the USSR in 1959. Documents from the archive is the rarest material of great value both for art historians and for researchers of life, personal and professional relations of representatives of Russian artistic emigration.
The Art of Eurasia, 2021, No. 2 (21), pp. 92–103, 2021
Nadezhda Evseevna Dobychina, whose name
is strongly associated with the Art Bureau, which
operate... more Nadezhda Evseevna Dobychina, whose name is strongly associated with the Art Bureau, which operated in St. Petersburg (Petrograd) from 1911 to 1919, possessed a significant collection of works of art by her contemporaries. The central part of the collection consisted of the works of the artists of the “World of Art” (“Mir Iskusstva”) circle, as well as the associations “Blue Rose” and “Union of Russian Artists”. From the lists of the collection preserved in the Dobychina’s archive, made at the initiative of representatives of the Soviet state in 1919, 1924 and 1930, one can trace how the collection developed in the first post-revolutionary decade. Nadezhda Dobychina gave preference to figurative art, in her property there were practically no abstract works, and the leftist trends of the avant-garde were also not represented. Most of the works kept by Dobychina were graphics (watercolors, pencil drawings and charcoal sketches), however, it should be noted that a block of bright paintings, perfectly combined in style and color, stood out in her collection (“Dawn” by D.S. Stelletsky, “Heat” by M.S. Sariyan, “Portrait of Dobychina” by N.I.Altman and others). The collection changed over time, but its central part remained unchanged despite all the vicissitudes of the owner’s eventful life.
The Actual Problems of History and Theory of Art, 2012
The research is devoted to the artistic movement the “Novecento italiano” that emerged in the pos... more The research is devoted to the artistic movement the “Novecento italiano” that emerged in the post-war period, institutionalized in 1922, one month after the famous fascist “March on Rome”, and subsequently enlarged to a nationwide level. Analysis of the evolution of “Novecento Italiano” from 1922 to 1930 is indispensable for understanding the problem of existence of the state art or a single artistic style during Mussolini era.
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the Bibliothèque Nationale de France. The earliest letters from this archive relating to the first years of emigration (I. Puni and his wife arrived in Berlin in October 1920, and moved to France in 1923), allow us to recreate a social network ties with representatives of the European art world (from L. Moholy-Nagy to A. Salmon); correspondence with relatives reveals a number of previously unknown biographical aspects. A significant part of the archive is the correspondence block of Boguslavskaya, who restored relations with many old friends after visiting the USSR in 1959. Documents from the archive is the rarest material of great value both for art historians and for researchers of life, personal and professional
relations of representatives of Russian artistic emigration.
is strongly associated with the Art Bureau, which
operated in St. Petersburg (Petrograd) from 1911
to 1919, possessed a significant collection of works
of art by her contemporaries. The central part
of the collection consisted of the works of the artists
of the “World of Art” (“Mir Iskusstva”) circle, as well
as the associations “Blue Rose” and “Union of Russian
Artists”. From the lists of the collection preserved
in the Dobychina’s archive, made at the initiative
of representatives of the Soviet state in 1919, 1924
and 1930, one can trace how the collection developed
in the first post-revolutionary decade. Nadezhda
Dobychina gave preference to figurative art, in her
property there were practically no abstract works,
and the leftist trends of the avant-garde were also not
represented. Most of the works kept by Dobychina
were graphics (watercolors, pencil drawings and
charcoal sketches), however, it should be noted
that a block of bright paintings, perfectly combined
in style and color, stood out in her collection (“Dawn”
by D.S. Stelletsky, “Heat” by M.S. Sariyan, “Portrait
of Dobychina” by N.I.Altman and others). The collection
changed over time, but its central part remained
unchanged despite all the vicissitudes of the owner’s
eventful life.
the Bibliothèque Nationale de France. The earliest letters from this archive relating to the first years of emigration (I. Puni and his wife arrived in Berlin in October 1920, and moved to France in 1923), allow us to recreate a social network ties with representatives of the European art world (from L. Moholy-Nagy to A. Salmon); correspondence with relatives reveals a number of previously unknown biographical aspects. A significant part of the archive is the correspondence block of Boguslavskaya, who restored relations with many old friends after visiting the USSR in 1959. Documents from the archive is the rarest material of great value both for art historians and for researchers of life, personal and professional
relations of representatives of Russian artistic emigration.
is strongly associated with the Art Bureau, which
operated in St. Petersburg (Petrograd) from 1911
to 1919, possessed a significant collection of works
of art by her contemporaries. The central part
of the collection consisted of the works of the artists
of the “World of Art” (“Mir Iskusstva”) circle, as well
as the associations “Blue Rose” and “Union of Russian
Artists”. From the lists of the collection preserved
in the Dobychina’s archive, made at the initiative
of representatives of the Soviet state in 1919, 1924
and 1930, one can trace how the collection developed
in the first post-revolutionary decade. Nadezhda
Dobychina gave preference to figurative art, in her
property there were practically no abstract works,
and the leftist trends of the avant-garde were also not
represented. Most of the works kept by Dobychina
were graphics (watercolors, pencil drawings and
charcoal sketches), however, it should be noted
that a block of bright paintings, perfectly combined
in style and color, stood out in her collection (“Dawn”
by D.S. Stelletsky, “Heat” by M.S. Sariyan, “Portrait
of Dobychina” by N.I.Altman and others). The collection
changed over time, but its central part remained
unchanged despite all the vicissitudes of the owner’s
eventful life.