Ludmila Budrina
Ural Federal University, Art History and Cultural Studies, Faculty Member
- International Relations, Faberge, XIX century art & architecture, Universal Exhibitions, Rock Crystal and Hardstones, Decorative Arts, and 28 moreMalachite, Rock Crystal, Cartier, Denissoff-Ouralsky, Russian Studies, Art History, Fine Arts, Russia, 18th & 19th Centuries, 18th Century, Exhibitions, Russian Art, Hermitage Museum, Saint-Petersburg, Museum of Fine Arts, Decorative arts 19th century, Cultural Studies, Culture, Design, Globalization, Älfdalen Porphyry, Post Medieval Archaeology, Pomerania, Russian & Soviet Art, Russian History, Universal Expositions, Napoleonic History, Cabinets of Curiosities, Porcelain, and The Use of Marble and Other Stonesedit
- PhD in Art History (2004), Associate Professor (2011) Associate professor of art history at Ural Federal University (... morePhD in Art History (2004), Associate Professor (2011)
Associate professor of art history at Ural Federal University (since 2002). Head of Decorative Arts Department of the Museum of fine Arts of Ekaterinburg (2012-2019), Senior Researcher & Curator of Carved hard stone’s collection in the State Museum of stone-cutting and jewelry art history, Ekaterinburg (2000-2012).
The research was supported by the grants and fellowships of the Russian Science Foundation (2023-2024), European University in Saint-Petersburg (2021), Harvard University Center for Italian Renaissance Studies – Villa I Tatti (2017), Ministere de la Culture et de communication de la France & Institut National d’Histoire de l’Art (2009, 2017), British Council & Victoria and Albert Museum (2014), President of Russian Federation’s grant for yang scientist – PhD (2010-2011).
Researches, presented in the conferences and resumed in the articles, books and exhibition’s catalogues (more than 250), focuses on the history of Russian stone cutting in the 19th century, the exchange of knowledge between Russian artists and his European colleagues, diffusion of the Russian stone object via the international exhibitions and diplomatic gifts, creation in Europe of new taste and new fashion for application of stones in the interior after the influence of Russian court and aristocracy in this period, the phenomena of “malachite diplomacy".
Papers was presented in the conference and workshop in Russia, Europe and online (Paris, Berlin, Florence, London, Rome).edit
The attribution of the fine art pieces needs the application of different methods, such an art history and stylistic analyze, an attention to the technological details, but also can’t be realized without the knowledge of the vestimentary... more
The attribution of the fine art pieces needs the application of different methods, such an art history and stylistic analyze, an attention to the technological details, but also can’t be realized without the knowledge of the vestimentary and social norms. The article proposes the analyze of the material culture details in the unsigned painting from the collection of Ekaterinburg Museum of Fine Arts
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Since the middle of the last century, The Metropolitan Museum of Art has held three extraordinary works executed by the Parisian atelier of Pierre Philippe Thomire, which incorporated Russian malachite. This richly patterned semiprecious... more
Since the middle of the last century, The Metropolitan Museum of Art has held three extraordinary works executed by the Parisian atelier of Pierre Philippe Thomire, which incorporated Russian malachite. This richly patterned semiprecious stone, known for its brilliant green color, had strong associations with the Russian count, collector, and industrialist Nicolai Nikitich Demidov (1773–1828). The first, a monumental vase with gilt bronze figural handles, has been amply studied, and its history traced from the time of its making in 1819 for Demidov to its acquisition by the Museum in 1944. The others, impressive twelve-light torchères, were given to the Museum in 1964 by Rodman A. de Heeren, and until now had not been studied in depth or attributed to a specific patron. This research note reconstructs the pieces’ history with Nicolai Demidov and his residence in Florence, Villa San Donato. Archival documents that have never before been published in English reveal Demidov’s key role as a supplier of Russian malachite to skilled artisans in Italy and France, and his equally central position in shaping the European taste for this semiprecious stone as a luxury material for monumental furnishings. Importantly, the documents also show that Demidov’s son, Anatole, sought to refashion the vases for new audiences in the second half of the nineteenth century, displaying them at San Donato, which functioned as a residence and as a showroom for promoting new uses for malachite.
https://www.metmuseum.org/art/metpublications/Budrina_Metropolitan_Museum_Journal_v_57_2022?Tag=&title=&author=budrina&pt=0&tc=0&dept=0&fmt=0
https://www.metmuseum.org/art/metpublications/Budrina_Metropolitan_Museum_Journal_v_57_2022?Tag=&title=&author=budrina&pt=0&tc=0&dept=0&fmt=0
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Demidoff family members use, collecting and promotion of malachite as an art market case
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Present article is dedicated to the indication of the different direction of studies, opened in the work with early local, and now dispersed collection, to the analyze of perspective of the so-called regional material, and give the... more
Present article is dedicated to the indication of the different direction of studies, opened in the work with early local, and now dispersed collection, to the analyze of perspective of the so-called regional material, and give the conclusions about the potential of the attribution works
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Demidoff’s villa San Donato near Florence, in the middle of the 19th century, was one of the most interesting phenomena of European artistic life. The richest collection, acquired by the two generations of the family and opened for the... more
Demidoff’s villa San Donato near Florence, in the middle of the 19th century, was one of the most interesting phenomena of European artistic life. The richest collection, acquired by the two generations of the family and opened for the choice public at the end of the 1850s, was attractive not only for the curious tourist by also for the specialists in the history of art. This collection gives his influence for the collecting of the second half of the 19th century The total liquidation of the 1860s–1880s destroyed this ensemble. However, thanks to the sales catalogues, some detailed descriptions of the interiors of San Donato and the archive’s documents, unique pictures, it becomes possible to restore not only the list of this collection but to try to understand the taste of these collectors. At the end of the 1850s at the rooms of Villa San Donato was amassed one of the most important collections from Russian malachite. Those pieces reflected two main styles applied by European and Russian artists. One of the rooms was decorated by the pieces created in the first third of the 19th century in empire taste. The second interior, remarkable by a concentration of the malachite pieces realized in the middle 19th century was known only by a description completed by the malachite pieces in the second rococo taste. The decoration of this room was destroyed by the sales. However, the study of the descriptions of 1858 and 1864, archive documents, sale catalogues and previous research permit to reconstruct of the main elements of one of the main interiors of the Florentine villa of the Demidoff family and to talk about the very special taste of his members.
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“Malachite Diplomacy” charts the discovery and attribution of Russian lapidary art that left the Russian Empire’s borders during various periods as diplomatic gifts. Ludmilla Budrina holds a PhD in Art History and her extensive research... more
“Malachite Diplomacy” charts the discovery and attribution of Russian lapidary art that left the Russian Empire’s borders during various periods as diplomatic gifts. Ludmilla Budrina holds a PhD in Art History and her extensive research in museums, archives, libraries and private collections, both in Russia and abroad, formed the basis for this publication.
The monograph examines over four hundred pieces created by artists from the Peterhof, Ekaterinburg and Kolyvan Imperial lapidary workshops as well as lesser known private ateliers in Saint Petersburg and Ekaterinburg such Philipot, Maderni, the Demidoff malachite workshop, Hesserich and Woerffel, Lagutyaev, Stebakov and others. The history of the transfer of works abroad is examined within the context of major events of the 18th through the early 20th centuries including political rapprochement and alliances, the signing of treaties, dynastic unions and other occasions.
The author’s definition of “malachite diplomacy” is not limited to production using this stone alone. A significant portion of the text is dedicated to the historical transfer of carved pieces in other colored stones from the Urals and Siberia such as jaspers, rhodonite, porphyry, quartzite and further specimens.
The book opens with a brief overview of the history of stone-cutting in Russia. The main body covers the spread of Russian stone pieces around the world, listed by country. These sections are based on the modern political map and then further defined by their historic regions. Thus, the chapter on Germany is subdivided into Prussia, Wurttemberg, Bavaria and others.
The scope of the text is not limited to Europe – which admittedly featured as Russia’s principle diplomatic partner in the 19th century. Lesser known cases of “malachite diplomacy” in Asia (Turkey, Iran, Japan and China), America (USA, Mexico) and Australia are also covered.
Ludmila Budrina is uniquely qualified to present both the supply and demand for Russian lapidary works thanks to her undisputed knowledge of the material covered. Her ability to trace the complex trajectories of each case study is bolstered by her facility with foreign languages. This allowed unrestricted access to an international network of experts and extensive research in foreign archives and collection.
At times, the author drew on detective methodology to uncover pieces preserved in museum vaults or hidden in private collections and distills this for us in a clearly presented, beautifully illustrated volume. The result is a uniquely fascinating history of the dissemination of Russian stone cutting art, the rich varieties of colored stones available, and their role on the diplomatic stage of the 18th to early 20th centuries.
The monograph examines over four hundred pieces created by artists from the Peterhof, Ekaterinburg and Kolyvan Imperial lapidary workshops as well as lesser known private ateliers in Saint Petersburg and Ekaterinburg such Philipot, Maderni, the Demidoff malachite workshop, Hesserich and Woerffel, Lagutyaev, Stebakov and others. The history of the transfer of works abroad is examined within the context of major events of the 18th through the early 20th centuries including political rapprochement and alliances, the signing of treaties, dynastic unions and other occasions.
The author’s definition of “malachite diplomacy” is not limited to production using this stone alone. A significant portion of the text is dedicated to the historical transfer of carved pieces in other colored stones from the Urals and Siberia such as jaspers, rhodonite, porphyry, quartzite and further specimens.
The book opens with a brief overview of the history of stone-cutting in Russia. The main body covers the spread of Russian stone pieces around the world, listed by country. These sections are based on the modern political map and then further defined by their historic regions. Thus, the chapter on Germany is subdivided into Prussia, Wurttemberg, Bavaria and others.
The scope of the text is not limited to Europe – which admittedly featured as Russia’s principle diplomatic partner in the 19th century. Lesser known cases of “malachite diplomacy” in Asia (Turkey, Iran, Japan and China), America (USA, Mexico) and Australia are also covered.
Ludmila Budrina is uniquely qualified to present both the supply and demand for Russian lapidary works thanks to her undisputed knowledge of the material covered. Her ability to trace the complex trajectories of each case study is bolstered by her facility with foreign languages. This allowed unrestricted access to an international network of experts and extensive research in foreign archives and collection.
At times, the author drew on detective methodology to uncover pieces preserved in museum vaults or hidden in private collections and distills this for us in a clearly presented, beautifully illustrated volume. The result is a uniquely fascinating history of the dissemination of Russian stone cutting art, the rich varieties of colored stones available, and their role on the diplomatic stage of the 18th to early 20th centuries.
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The newly developed high-tech methods of attribution and assessment have sometimes been viewed as replacements for more traditional approaches. This article uses three case studies to examine the role of documents and published resources... more
The newly developed high-tech methods of attribution and assessment have sometimes been viewed as replacements for more traditional approaches. This article uses three case studies to examine the role of documents and published resources as the important sources of information for the attribution of malachite pieces commissioned to the European artists by Nikolay Demidov. The first case highlights the role of archival documents in the identification of the elements and complete reconstruction of an important table centrepiece. The second example uses the materials published by the media of different countries made accessible by the digitalization process, and the placement of this digital copy in the open databases. With the support from the three articles published in the English, French and Vatican journals, it was possible to identify author, date of creation and the relation to the client for one pair of columns, which are the first example of the architectural use of malachite....
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CATALOGUES, INDEXES AND REPORTS OF THE WORLD AND RUSSIAN EXHIBITIONS AS A SOURCE OF INFORMATION ON THE DEVELOPMENT OF STONE CARVING ART IN RUSSIA (TO THE PROBLEM OF IDENTIFICATION OF YEKATERINBURG HANDICRAFTSMEN) The article on particular... more
CATALOGUES, INDEXES AND REPORTS OF THE WORLD
AND RUSSIAN EXHIBITIONS AS A SOURCE OF INFORMATION
ON THE DEVELOPMENT OF STONE CARVING ART IN RUSSIA
(TO THE PROBLEM OF IDENTIFICATION OF YEKATERINBURG
HANDICRAFTSMEN)
The article on particular examples is examined the informative
potential of publications of Worldwide and All-Russian exhibitions for
studying the history of the Russian stone carving art. Special attention is
given to coverage of private and handicrafts production, information on
activities and assortment of which is of great interest, due to the lack of
archival materials. As an example, the research on preparing an author’s
reference for two malachite vases by M. I. Kvasnikov is published.
AND RUSSIAN EXHIBITIONS AS A SOURCE OF INFORMATION
ON THE DEVELOPMENT OF STONE CARVING ART IN RUSSIA
(TO THE PROBLEM OF IDENTIFICATION OF YEKATERINBURG
HANDICRAFTSMEN)
The article on particular examples is examined the informative
potential of publications of Worldwide and All-Russian exhibitions for
studying the history of the Russian stone carving art. Special attention is
given to coverage of private and handicrafts production, information on
activities and assortment of which is of great interest, due to the lack of
archival materials. As an example, the research on preparing an author’s
reference for two malachite vases by M. I. Kvasnikov is published.
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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... more
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.
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.
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Malachite, despite the cessation of the mining of malachite in Russia, remains one of the strongest recognizable symbols of the country. However, even 250 years ago, this material was considered an ore, at best, a mineralogical unique.... more
Malachite, despite the cessation of the mining of malachite in Russia, remains one of the strongest recognizable symbols of the country. However, even 250 years ago, this material was considered an ore, at best, a mineralogical unique. Two strategic lines were of particular importance for its transformation into a popular decorative material, and soon into a distinctive sign of the luxury of the imperial Russian court. One was associated with the diplomatic activity of the emperors and the court. The second, no less important, related to the activities of the Demidov family, is the subject of current research. This report is
supposed to talk about how three generations of the family used market mechanisms to popularize raw materials (of which they were monopolists), recognizability and the formation of an areola of special prestige for Ural malachite.
supposed to talk about how three generations of the family used market mechanisms to popularize raw materials (of which they were monopolists), recognizability and the formation of an areola of special prestige for Ural malachite.
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The newly developed high-tech methods of attribution and assessment have sometimes been viewed as replacements for more traditional approaches. This article uses three case studies to examine the role of documents and published resources... more
The newly developed high-tech methods of attribution and assessment have sometimes been viewed as replacements for more traditional approaches. This article uses three case studies to examine the role of documents and published resources as the important sources of information for the attribution of malachite pieces commissioned to the European artists by Nikolay Demidov. The first case highlights the role of archival documents in the identification of the elements and complete reconstruction of an important table centrepiece. The second example uses the materials published by the media of different countries made accessible by the digitalization process, and the placement of this digital copy in the open databases. With the support from the three articles published in the English, French and Vatican journals, it was possible to identify author, date of creation and the relation to the client for one pair of columns, which are the first example of the architectural use of malachite. The third case shows the role of iconographic sources-original pieces and printed graphics-in the attribution of the pieces from the presumably lost collection of Russian malachite created for the First World's Exhibition in London in 1851. In conclusion, the author discusses the importance of the traditional methods of assessment and attribution based on the documents and printed sources.
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The history of Russian stonecutting art is mostly known due to the production of the imperial lapidary factories. However, in order to understand the real situation in this area of decorative arts, it is also important to consider the... more
The history of Russian stonecutting art is mostly known due to the production of the imperial lapidary factories. However, in order to understand the real situation in this area of decorative arts, it is also important to consider the production of private ateliers. This article analyses the activity in coloured stone working at one of them, i.e. the Atelier of Hoessrich and Woerffel founded in 1842 in St Petersburg. The article refers to a collection made of malachite and other ornamental stones created for the first official world’s fair held in America and organised for the celebration of the 100th Anniversary of the signing of the Declaration of Independence in Philadelphia in 1876.
The collection prepared for the exhibition produced a great impression on the public and some of the pieces were bought by American visitors. Thanks to some archival photographs kept in a library in the US, it has become possible to carry out a detailed examination of the range of exhibits, identify some of the works and find their analogues in museums of the US, the Republic of Iran, and in private collections in Russia, North
America, and Europe. Also, this makes it possible to trace the development of fashion for the use of malachite. The author provides some corrections for the attribution of part of the pieces identified or gives new ones.
The analysis of the exhibition activity of the Saint Petersburg atelier carried out with reference to a wide range of print catalogues and reports of world, international, and Russian nationwide exhibitions of the last quarter of the nineteenth and early twentieth centuries makes it possible to examine changes in the market and in public tastes and study their influence on the activity of the enterprise and its product range.
The research carried out makes it possible to reinstate the items created by the atelier in the history of Russian stonecutting art and make conclusions about the role of Hoessrich and Woerffel Atelier’s participation in the exhibition of 1876 to promote fashion for malachite in new markets, and clarify the geography and routes of how these works spread. The author also points out factors underlying the influence of the state of things in the art market on the range of products and the viability of their enterprise.
The collection prepared for the exhibition produced a great impression on the public and some of the pieces were bought by American visitors. Thanks to some archival photographs kept in a library in the US, it has become possible to carry out a detailed examination of the range of exhibits, identify some of the works and find their analogues in museums of the US, the Republic of Iran, and in private collections in Russia, North
America, and Europe. Also, this makes it possible to trace the development of fashion for the use of malachite. The author provides some corrections for the attribution of part of the pieces identified or gives new ones.
The analysis of the exhibition activity of the Saint Petersburg atelier carried out with reference to a wide range of print catalogues and reports of world, international, and Russian nationwide exhibitions of the last quarter of the nineteenth and early twentieth centuries makes it possible to examine changes in the market and in public tastes and study their influence on the activity of the enterprise and its product range.
The research carried out makes it possible to reinstate the items created by the atelier in the history of Russian stonecutting art and make conclusions about the role of Hoessrich and Woerffel Atelier’s participation in the exhibition of 1876 to promote fashion for malachite in new markets, and clarify the geography and routes of how these works spread. The author also points out factors underlying the influence of the state of things in the art market on the range of products and the viability of their enterprise.
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The earliest use of malachite in Russian decorative art can be dated to the last ten years of the 18th century into the first twenty years of the 19th century. This span is particularly/extremely interesting for research, firstly, as a... more
The earliest use of malachite in Russian decorative art can be dated to the last ten years of the 18th century into the first twenty years of the 19th century. This span is particularly/extremely interesting for research, firstly, as a time of invention and mastery of new technical methods. Secondly, this period was marked by numerous cross-cultural exchanges. The present article summarizes the research, beginning with an analysis of the rarest signed and dated works of Russian malachite of the 1810s.
Square tazzas, popular in late Antiquity, were completely forgotten before the archeological excavations of the mid-18th century, and regained favor in the art of Neoclassicism and Empire. In Russian decorative arts those vase forms migrated in the early 19th century via European illustrated books depicting archeological objects or providing sources for artists, in publications by by Caylus (1762) et Beauvallet (1804-1807) in France and by Schinkel (1821-1830) in Germany.
The attribution of the magnificent, large square tazza with a high foot from the collection of the House of Hesse Cultural Foundation and exhibited at the Fasanerie Castle in Fulda, is published for the first time in this article. Researching the history of this piece required technical analysis of its production and retracing the history of the tazza’s ownership? Studying the signature on the tazza’s base allowed it to be linked to information in an article published in 1820. Thankfully, it was then possible to establish the names of the master and vendor: The St Petersburg based Italian artist Supan, his Russian pupil Fedor Mikhailovitch Shoubin, and a French dealer of art and rarities Robert Philipot.
The transfer of the tazza (from the Russian workshop, via Copenhagen’s palaces to an East German castle) reflects the political and diplomatic activity of Russia and demonstrates the development of the fashion for Russian malachite. The dissemination of interest in Russian malachite in this case is attributed to the Danish Ambassador to the Russian court in 1804-1841, the Landgraf Otto von Blome and to Prince Friedrich Wilhelm von Hessen-Kassel-Rumpenheim, the spouse of Grand Duchess Alexandra Nicolaevna, whose happy marriage was tragically interrupted by the death of the young woman only eight months after the ceremony. Currently, the tazza is preserved in Fasanerie Castle – the summer residence of the prince’s second wife, Princess Anna of Prussia.
Square tazzas, popular in late Antiquity, were completely forgotten before the archeological excavations of the mid-18th century, and regained favor in the art of Neoclassicism and Empire. In Russian decorative arts those vase forms migrated in the early 19th century via European illustrated books depicting archeological objects or providing sources for artists, in publications by by Caylus (1762) et Beauvallet (1804-1807) in France and by Schinkel (1821-1830) in Germany.
The attribution of the magnificent, large square tazza with a high foot from the collection of the House of Hesse Cultural Foundation and exhibited at the Fasanerie Castle in Fulda, is published for the first time in this article. Researching the history of this piece required technical analysis of its production and retracing the history of the tazza’s ownership? Studying the signature on the tazza’s base allowed it to be linked to information in an article published in 1820. Thankfully, it was then possible to establish the names of the master and vendor: The St Petersburg based Italian artist Supan, his Russian pupil Fedor Mikhailovitch Shoubin, and a French dealer of art and rarities Robert Philipot.
The transfer of the tazza (from the Russian workshop, via Copenhagen’s palaces to an East German castle) reflects the political and diplomatic activity of Russia and demonstrates the development of the fashion for Russian malachite. The dissemination of interest in Russian malachite in this case is attributed to the Danish Ambassador to the Russian court in 1804-1841, the Landgraf Otto von Blome and to Prince Friedrich Wilhelm von Hessen-Kassel-Rumpenheim, the spouse of Grand Duchess Alexandra Nicolaevna, whose happy marriage was tragically interrupted by the death of the young woman only eight months after the ceremony. Currently, the tazza is preserved in Fasanerie Castle – the summer residence of the prince’s second wife, Princess Anna of Prussia.
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The interest in malachite as a symbol had been gradually formed throughout the XIX century. The beginning of the next century attracted North America to the stone. In the mid XX century, the designers turned to malachite as the basis for... more
The interest in malachite as a symbol had been gradually formed throughout the XIX century. The beginning of the next century attracted North America to the stone. In the mid XX century, the designers turned to malachite as the basis for making recognizable prints that benefited from the gorgeous material with less expensive means. At the beginning of the XXI century, the fashion for malachite print has been restored, gradually comprising an increasing number of fashion designers. The interest in the color and pattern of the stone can become one of the starting points for the promotion of the Urals.
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in Russian, French and English - the same article in one file
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Неизвестные проекты французских мастеров для бронзы и малахита из коллекции Российского государственного исторического архива и предмет из королевской коллекции Нидерландов
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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... more
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
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
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La période du début de XIX siècle nous plonge dans l’époque des relations les plus étroites qui aient jamais existées entre la Russie et la France, époque ou les aristocrates et les membres de la haute bourgeoisie russe fréquentent les... more
La période du début de XIX siècle nous plonge dans l’époque des relations les plus étroites qui aient jamais existées entre la Russie et la France, époque ou les aristocrates et les membres de la haute bourgeoisie russe fréquentent les ateliers des plus grands artistes français. C’était le cas de Nicolas Demidoff, membre d’une famille très riche, possédant des usines et des mines en Oural. Les archives concernant les biens de M. Demidoff nous évoquent ses relations avec Thomire (qui a fournit beaucoup d’objets non seulement en bronze doré mais aussi d’œuvres plaquées de malachite), qui sont largement connu. Mais en même temps, ces papiers nous montrent les relation avec les anciens élèves de l’école de la mosaïque et de la pierre dure, fondée à Paris par le romain Belloni à la fin du XVIIIème siècle sous le patronage de Napoléon Ier. Parmis eux on peut cité Mazzola, Thèret, Perinot et d’autre ex-élèves de l’école.
En effet, on est surpris de découvrir un développement relativement important du placage en malachite (traditionnellement considéré comme une des spécialités russes) à Paris durant le premier quart du XIXème siècle. Egalement, on voit parmi les commandes de Demidoff des années 1800s-1810s un certain nombre d’objets de mobilier (y compris des meubles en bronze doré et malachite) incrustés de mosaïques en relief dites “florentine”. Mais, en s’appuyant sur des faits différents, on peut supposer que ces mosaïques sont de production parisienne.
En effet, on est surpris de découvrir un développement relativement important du placage en malachite (traditionnellement considéré comme une des spécialités russes) à Paris durant le premier quart du XIXème siècle. Egalement, on voit parmi les commandes de Demidoff des années 1800s-1810s un certain nombre d’objets de mobilier (y compris des meubles en bronze doré et malachite) incrustés de mosaïques en relief dites “florentine”. Mais, en s’appuyant sur des faits différents, on peut supposer que ces mosaïques sont de production parisienne.
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В статье рассматривается один из малоизученных аспектов влияния китайской традиции на европейскую – имитация цветного камня в произведениях фарфора. На конкретных примерах прослеживается специфика этого направления творчества китайских... more
В статье рассматривается один из малоизученных аспектов влияния китайской традиции на европейскую – имитация цветного камня в произведениях фарфора. На конкретных примерах прослеживается специфика этого направления творчества китайских фарфористов, ставится вопрос о проникновении этого художественного приема на европейскую почву и раскрывается характер его проявления в произведениях крупнейших европейских фарфоровых заводов.
The article is devoted to one episodes of the influence of Chinese tradition on the European decorative art – the imitation of a color stones in the porcelain and majolica works. On concrete examples are traced the specifics of this direction of the creativity of Chinese artists. The attention is brought to the penetration of this artistic reception on the European area and reveals the nature of his manifestation in some works of the largest European porcelain manufactories.
The article is devoted to one episodes of the influence of Chinese tradition on the European decorative art – the imitation of a color stones in the porcelain and majolica works. On concrete examples are traced the specifics of this direction of the creativity of Chinese artists. The attention is brought to the penetration of this artistic reception on the European area and reveals the nature of his manifestation in some works of the largest European porcelain manufactories.
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The article is devoted to the comparative analysis of five products of two fac-tories - Demidoff’s malachite factory and Imperial Peterhof lapidary factory – cre-ated fellow a single model in the 1847-1856. The aim of the study is an... more
The article is devoted to the comparative analysis of five products of two fac-tories - Demidoff’s malachite factory and Imperial Peterhof lapidary factory – cre-ated fellow a single model in the 1847-1856. The aim of the study is an introduction to the scientific field the information about recently discovered works, their reliable attributions based on documentary sources and confirmed with previously identi-fied signs of attribution (material, character of the mosaic). In the article, we actual-ize the problems of the same time participation of foreign specialist in the work of public and private companies in Russia; we affect some aspects of the exposure of Russian works at the London World Exhibition in 1851. The identification of mas-terpieces in museums and private collections in Europe required a study of the market of applied art of the mid-end of the XIX century through archival docu-ments, periodicals of the time, recent publication of museum collections, as well as previous studies carried out by the author. All the work in question was a object of careful studies: we have made stylistic, technical and technological analysis, materi-al studies of the pieces. A comparison of the details of products, time and place of their creation, it becomes obvious the using of a single model; limited time of using of showy, but very expensive technology of mosaic; established tradition of using certain kind of malachite (relativity light, speckled with turquoise and contrasting pattern) for works in the style of the second Rococo. This publication summarizes a six-year search for malachite pieces from Russian department of the first World Exhibition (London, 1851), created on the malachite factory of Demidoff in St. Pe-tersburg in 1847-1851.
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The article analyzes one work of the Peterhof lapidary factory – pair of malachite vases, reviews the history of creation similar shape objects at the imperial factories in the middle of the XIX century, highlights historical reasons for... more
The article analyzes one work of the Peterhof lapidary factory – pair of malachite vases, reviews the history of creation similar shape objects at the imperial factories in the middle of the XIX century, highlights historical reasons for giving this pair of vases to Baron Philippe de Bourgoing, member of the Court of French emperor Napoleon III, who played important role in thwarting an assassination attempt on the life of Emperor Alexander II during his visit to Paris in 1867
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Article enters into scientific study a malachite cup made by the Imperial Ekaterinburg lapidary factory, show at the Royal Palace in Turin, gives arguments about its dating, sheds light on the political background of its moving to the... more
Article enters into scientific study a malachite cup made by the Imperial Ekaterinburg lapidary factory, show at the Royal Palace in Turin, gives arguments about its dating, sheds light on the political background of its moving to the capital of the Kingdom of Sardinia and Piedmont, said the circumstances of the gift
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The article deals with the problem of the Russian and European school of stone carving interaction through the prism of orders fulfilled for Nicolay N. Demidov by Parisian workshops. The author analyzes a unique set of works presenting... more
The article deals with the problem of the Russian and European school of stone carving interaction through the prism of orders fulfilled for Nicolay N. Demidov by Parisian workshops. The author analyzes a unique set of works presenting results of their attribution and study, focusing on the activity of the early 19th century French stone carvers and mosaicists with reference in the 19th early 20th centuries foreign sources hitherto unstudied by Russian scholars. the author provides the first publication of some archival data on the biography of Aleksandr I. Lyutin, head of Yekaterinburg lapidary factory, drawing a conclusion of the character of the interaction between European stone carvers and N.N. Demidov
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Research Interests: Russian Studies, International Relations, Art History, Mexico History, Decorative Arts, and 12 moreAustrian History, Museum Collections (Research), The Use of Marble and Other Stones, Mosaics, XIX century art & architecture, Storia Di Firenze, Universal Expositions, The Crystal Palace of 1851, Rock Crystal and Hardstones, The Great Exhibition 1851, Malachite, and Demidoff
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About a vase in malachite mosaic, presented at the First World Faire of London in 1851 by Demidoff and given to prince Esterhazy (a part of results of Demidoff malachite study)
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About a history of creation of news type of interior decoration in the early XIX century, made with malachite and named "Malachite salon". From Trianon to Windsor castle, into Winter Palace and villa of Demidoff, passed by Potsdam.
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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... more
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 ...
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Relief icons (later also landscapes) are the peculiarity of the stone cutting production, very popular in the Ural stone cutting artists of the 19th century. The technology of this kind of production was described and analysed previously,... more
Relief icons (later also landscapes) are the peculiarity of the stone cutting production, very popular in the Ural stone cutting artists of the 19th century. The technology of this kind of production was described and analysed previously, especially in some publications of the author. However, the question about the sources of this type of production and about the used iconography still actual. The present article is dedicated
to the new discovered sources of inspiration in the European art, what open the studies of the parallels between Ural’s works and the similar kind of objects by the West european artists. Also, the article proposes the identification of some sources of the iconographic details and composition, what permit the attribution of Ural’s works, precise and argument the dating. In the fact, to the previously discovered and published by the author information about the use by the creators of the relief icons of the German engraving of the second half of the 19th century, article adds newly discovered information about the use of the different West European sources of the 17th–18th centuries. This information permits us to enlarge the dating for some pieces, and to precise the circle of the sources, knot weed and used by the local artists. New data permit us to include the regional Ural art to the common for the European decorative art of the 19th century process of the rethinking of the heritage of the pastime, argument the actual thesis about the analyses of the Ural artistic industry as a part of the European culture of the 19th century
to the new discovered sources of inspiration in the European art, what open the studies of the parallels between Ural’s works and the similar kind of objects by the West european artists. Also, the article proposes the identification of some sources of the iconographic details and composition, what permit the attribution of Ural’s works, precise and argument the dating. In the fact, to the previously discovered and published by the author information about the use by the creators of the relief icons of the German engraving of the second half of the 19th century, article adds newly discovered information about the use of the different West European sources of the 17th–18th centuries. This information permits us to enlarge the dating for some pieces, and to precise the circle of the sources, knot weed and used by the local artists. New data permit us to include the regional Ural art to the common for the European decorative art of the 19th century process of the rethinking of the heritage of the pastime, argument the actual thesis about the analyses of the Ural artistic industry as a part of the European culture of the 19th century
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The article dedicates to the analyze of the project graphic of Ekaterinburg lapidary factory of the second half of the 19th — beginning of the 20th century and to the problem of the authorship of the hard stone art pieces made in Ural.... more
The article dedicates to the analyze of the project graphic of Ekaterinburg lapidary factory of the second half of the 19th —
beginning of the 20th century and to the problem of the authorship of the hard stone art pieces made in Ural. One specific
example was studied about the reflection of the style evolution, the methodology of the transformation of the old fashion’
projects. For the first time the article proposes the archive documents-based attribution of the previously nonidentified piece
by the imperial lapidary factory.
beginning of the 20th century and to the problem of the authorship of the hard stone art pieces made in Ural. One specific
example was studied about the reflection of the style evolution, the methodology of the transformation of the old fashion’
projects. For the first time the article proposes the archive documents-based attribution of the previously nonidentified piece
by the imperial lapidary factory.
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The type of berries’ paperweight appeared in the Russian stonecutting (pietra dura) art on the turn of the 1830s-1840s after the influence of revivals movement in the art. It was also related to the interpretation of the technic of relief... more
The type of berries’ paperweight appeared in the Russian stonecutting (pietra dura) art on the turn of the 1830s-1840s after the influence of revivals movement in the art. It was also related to the interpretation of the technic of relief mosaic, adopted after the heritage of Florentine and French artists of the 17th century, and his 19th century European followers. The specialty of the Russian interpretation of this type of things became the intensity of the interest to the naturalistic images of the garden’s and wild berries, what designate the name of the type. The article
is dedicated to the analyze of the evolution of hard stone relief mosaic of berries in the Russian stonecutting art of the 1840s – 1960s.
is dedicated to the analyze of the evolution of hard stone relief mosaic of berries in the Russian stonecutting art of the 1840s – 1960s.
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Budrina L. A. Graphic Heritage as a Tool for the Attribution and Style Analysis of Works of the Imperial Ekaterinburg Lapidary Factory of the last Third of the 19th — Early 20th Centuries. Belonging to the style of late eclectics,... more
Budrina L. A. Graphic Heritage as a Tool for the Attribution and Style Analysis of Works of the Imperial Ekaterinburg Lapidary Factory of the last Third of the 19th — Early 20th Centuries.
Belonging to the style of late eclectics, products of the Ekaterinburg Lapidary Factory are scarce in the collections of Russian museums. Their small size and complex forms did not correspond to the notion of objects worthy of preservation. For this reason, most of the works created by Ural masters in the 1870s–1900s did not enter their collections at the early stage of the formation of Soviet museums. The insignificant presence of these works in available collections, the possibility of becoming acquainted with many of them only from graphic materials, together with a general negative attitude towards the decorative arts of late eclecticism and historicism, led to a lack of systematic analysis, often replaced by general phrases about decadence and insufficient artistic level. Meanwhile, more and more works by the Imperial Lapidary Factory in Ekaterinburg appearing on the antique market during this period are evidence of a strenuous search for new forms. The absence of a recognizable approach to form makes the attribution of such items extremely difficult, and often impossible without reference to the graphic heritage of the factory. Scattered and still awaiting systematization, it indicates the involvement of artists of different trends in the search for new forms and principles of decorating stone works. The article considers the existing complexes of graphic works connected with the activity of the Ekaterinburg Lapidary Factory, restoring the fate of previously undescribed objects. Also, the author provides information on the known materials, analyzing the style of proposed and executed designs and providing examples of attributions made based on drawings. Several graphic sheets are introduced into scholarly circulation for the first time.
Belonging to the style of late eclectics, products of the Ekaterinburg Lapidary Factory are scarce in the collections of Russian museums. Their small size and complex forms did not correspond to the notion of objects worthy of preservation. For this reason, most of the works created by Ural masters in the 1870s–1900s did not enter their collections at the early stage of the formation of Soviet museums. The insignificant presence of these works in available collections, the possibility of becoming acquainted with many of them only from graphic materials, together with a general negative attitude towards the decorative arts of late eclecticism and historicism, led to a lack of systematic analysis, often replaced by general phrases about decadence and insufficient artistic level. Meanwhile, more and more works by the Imperial Lapidary Factory in Ekaterinburg appearing on the antique market during this period are evidence of a strenuous search for new forms. The absence of a recognizable approach to form makes the attribution of such items extremely difficult, and often impossible without reference to the graphic heritage of the factory. Scattered and still awaiting systematization, it indicates the involvement of artists of different trends in the search for new forms and principles of decorating stone works. The article considers the existing complexes of graphic works connected with the activity of the Ekaterinburg Lapidary Factory, restoring the fate of previously undescribed objects. Also, the author provides information on the known materials, analyzing the style of proposed and executed designs and providing examples of attributions made based on drawings. Several graphic sheets are introduced into scholarly circulation for the first time.
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The history of the Russian hard stone (pietra dura) tradition in the decorative arts is by definition Revivalist, originating at the beginning of the 18th century as a reflection of European court culture. This aspect of the decorative... more
The history of the Russian hard stone (pietra dura) tradition in the decorative arts is by definition Revivalist, originating at the beginning of the 18th century as a reflection of European court culture. This aspect
of the decorative arts, and the perfecting of Russian stonecutting, became one element of Russian national identity in the 19th century. From an artistic point of view, Russian pietra dura represented a perfect example of Revivalist styles and forms: Neoclassical, second Rococo, Neo-Renaissance and Japonisme. However, the Revivalist inspiration is not limited to the past. One very interesting example is the application of three-dimensional mosaic in sculpture. This remarkable technique was
invented at the Medici court workshops between the end of the 16th and middle of the 17th century. Revived in the last quarter of the 19th century by the Florentine artists of the Opificio dell pietra dura, it arrived in Russia through the artists working for the famous Carl Fabergé company. In the 1900s–1910s, roughly one hundred items representing Russian allegorical figures were created by Fabergé and his rival Denissoff-Ouralsky. Curiously, this very complex and expensive technique survived into the Soviet age. This significant form of interior decoration was revived again at the end of the 1990s under different economic circumstances. The private collections were new, but the images were traditional: stonecutters reproduced the Russian Fabergé styles and interpreted Russian history. Between 1995 and the present day, hundreds of pieces of this kind have been produced by artisans in the Urals. While some mirror Faberge pieces, others reveal a more dynamic, elaborate and complex development of decorative interior stone sculpture
of the decorative arts, and the perfecting of Russian stonecutting, became one element of Russian national identity in the 19th century. From an artistic point of view, Russian pietra dura represented a perfect example of Revivalist styles and forms: Neoclassical, second Rococo, Neo-Renaissance and Japonisme. However, the Revivalist inspiration is not limited to the past. One very interesting example is the application of three-dimensional mosaic in sculpture. This remarkable technique was
invented at the Medici court workshops between the end of the 16th and middle of the 17th century. Revived in the last quarter of the 19th century by the Florentine artists of the Opificio dell pietra dura, it arrived in Russia through the artists working for the famous Carl Fabergé company. In the 1900s–1910s, roughly one hundred items representing Russian allegorical figures were created by Fabergé and his rival Denissoff-Ouralsky. Curiously, this very complex and expensive technique survived into the Soviet age. This significant form of interior decoration was revived again at the end of the 1990s under different economic circumstances. The private collections were new, but the images were traditional: stonecutters reproduced the Russian Fabergé styles and interpreted Russian history. Between 1995 and the present day, hundreds of pieces of this kind have been produced by artisans in the Urals. While some mirror Faberge pieces, others reveal a more dynamic, elaborate and complex development of decorative interior stone sculpture
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Two related pieces, produced by Russian stone curving artists, marks the important stages in the Franco-Russian and Franco-Soviet relationships. First, the map of France, was created by the artisans of the imperial Ekaterinburg lapidary... more
Two related pieces, produced by Russian stone curving artists, marks the
important stages in the Franco-Russian and Franco-Soviet relationships. First, the map of France, was created by the artisans of the imperial Ekaterinburg lapidary factory in 1898–1900. It became the gift to French Republic, presented in the opening ceremony of the Paris World Exhibition of 1900. Realized on the period of intensive friendship between two countries, the map was an apotheose of the large wave of the stone’s gift send to France in the second half of 1880s-1890s. the choice of the form of gift, and the particular attention of the imperial family to the execution, proved the importance of this precious gift. New stage of relationship, related to the pietra dura, date the second half of 1930s and related to the next World Exhibition in Paris in 1937. One of the most attractive exhibits of the USSR pavilion was a map of Industrialization (executed by the factories of the newly established trust “Russian gems” (Russkie samotcvety). This piece was invented as a sort of the rival to the map
of France, the imperial gift. The speed of execution, the size, the number of precious materials used — everything was intended to fulfill the effectiveness of the Soviet state. Two map was realized as the representation of the richness and artistic capacity of Russia and URSS, and had not only artistic pr historical, but also political significance. An analysis of the specificities of the political statement expressed in each of the works, as well as a kind of dialogue between them, summarize the article.
important stages in the Franco-Russian and Franco-Soviet relationships. First, the map of France, was created by the artisans of the imperial Ekaterinburg lapidary factory in 1898–1900. It became the gift to French Republic, presented in the opening ceremony of the Paris World Exhibition of 1900. Realized on the period of intensive friendship between two countries, the map was an apotheose of the large wave of the stone’s gift send to France in the second half of 1880s-1890s. the choice of the form of gift, and the particular attention of the imperial family to the execution, proved the importance of this precious gift. New stage of relationship, related to the pietra dura, date the second half of 1930s and related to the next World Exhibition in Paris in 1937. One of the most attractive exhibits of the USSR pavilion was a map of Industrialization (executed by the factories of the newly established trust “Russian gems” (Russkie samotcvety). This piece was invented as a sort of the rival to the map
of France, the imperial gift. The speed of execution, the size, the number of precious materials used — everything was intended to fulfill the effectiveness of the Soviet state. Two map was realized as the representation of the richness and artistic capacity of Russia and URSS, and had not only artistic pr historical, but also political significance. An analysis of the specificities of the political statement expressed in each of the works, as well as a kind of dialogue between them, summarize the article.
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Винокуров С.Е., Будрина Л.А. РУССКИЕ МЕДАЛИ В ИНТЕРПРЕТАЦИИ УРАЛЬСКИХ КАМНЕРЕЗОВ [Электронный ресурс] /С.Е. Винокуров, Л.А. Будрина // Архитектон: известия вузов. – 2020. – №1(69). – URL: http://archvuz.ru/2020_1/24
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Article dedicated to the role of the A. I. Lutin in the creation of tradition of the still life in carved hard stones in Ural, analyze of the biography of Mr. Lutin and his relationship with the member of a family of N. N. Demidoff, a... more
Article dedicated to the role of the A. I. Lutin in the creation of tradition of the still life in carved hard stones in Ural, analyze of the biography of Mr. Lutin and his relationship with the member of a family of N. N. Demidoff, a study of the similarities and differences between the coloured stone relief mosaic in Europe and Russia in the first half of the 19th century.
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The article is dedicated to the research of the stylistic patterns in the realization of the relief colored stone mosaic’s still-life, created in the 1840s-1860s by the artists of the Imperial Peterhof lapidary factory. Is given the data... more
The article is dedicated to the research of the stylistic patterns in the realization of the relief colored stone mosaic’s still-life, created in the 1840s-1860s by the artists of the Imperial Peterhof lapidary factory. Is given the data about the context of the new replying of this technic: the historical origins, the common European waves in the furniture art, related to the revival styles and the neo-renaissance, the application of this technic for the creation of the still-life composition by the artist of the Ekaterinburg lapidary factory.
Based on the analyze of the works, dispersed now in the museums and private collections in Russia and Western Europe, on part of what was previously published, other knowed only by the documents, and also discovered in the course of this research, is given the conclusion about the character specificity of the Peterhof’s mosaic, divided them from the works of the European artists of the same time: the particular choice of the materials, the technical details, the stylistics addiction to the exact botanical representation of the plants – the nature-like, very typical for the decorative art of middle 19th century.
Based on the analyze of the works, dispersed now in the museums and private collections in Russia and Western Europe, on part of what was previously published, other knowed only by the documents, and also discovered in the course of this research, is given the conclusion about the character specificity of the Peterhof’s mosaic, divided them from the works of the European artists of the same time: the particular choice of the materials, the technical details, the stylistics addiction to the exact botanical representation of the plants – the nature-like, very typical for the decorative art of middle 19th century.
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Les objets destinés aux Expositions universelles ont toujours été d’une grande valeur et leur portée symbolique doit à la fois séduire le pays partenaire et montrer la richesse et le savoir-faire du peuple qui les a produits. Lors de... more
Les objets destinés aux Expositions universelles ont toujours été d’une grande valeur et leur portée symbolique doit à la fois séduire le pays partenaire et montrer la richesse et le savoir-faire du peuple qui les a produits. Lors de l’Exposition universelle de 1900, la réputation d’excellence de la Russie va se concrétiser par la création, par la Manufacture d’Ekaterinbourg, d’une Carte de France en mosaïque composée de pierres précieuses et de pierres dures, d’or, de platine et d’argent.
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Будрина Л.А. (2017) Атрибуция произведений русских камнерезных фабрик: предмет, эскиз и проблема авторства в контексте кросс-культурного обмена. / Budrina L. The Attribution of Works of Russian stonecutting Factories: Objects, Design and Issue of Authorship in the Context of cross-cultural Exchangesmore
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... more
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.
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Research Interests: Diplomatic History, Russian Studies, International Relations, Decorative Arts, Russian History, and 7 moreRussian & Soviet Art, Cultural Diplomacy, Russian Art, Decorative arts 19th century, The Use of Marble and Other Stones, Material Culture, Design History, Decorative Arts, and Rock Crystal and Hardstones
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The article is devoted to the history of a unique display. It demonstrates the artistic and technical search and studies the motives that conditioned the choice of an artist to fill such an unusual order. Owing to the analysis of... more
The article is devoted to the history of a unique display. It demonstrates the artistic and technical search
and studies the motives that conditioned the choice of an artist to fill such an unusual order. Owing
to the analysis of previously unpublished graphic materials, it was possible to discover some unknown pages
in the history of the largest French company for the production of exhibition equipment and compare it with
the work of the offer of a famous Russian furniture maker.
and studies the motives that conditioned the choice of an artist to fill such an unusual order. Owing
to the analysis of previously unpublished graphic materials, it was possible to discover some unknown pages
in the history of the largest French company for the production of exhibition equipment and compare it with
the work of the offer of a famous Russian furniture maker.
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Seit dem Ende des XVIII. Jahrhunderts kommt eine starke Veränderung in der Zusammensetzung der russischen diplomatischen Geschenken vor. Die traditionellen wertvollen Pelze werden durch dekorative Werke aus dem Farbstein ersetzt.... more
Seit dem Ende des XVIII. Jahrhunderts kommt eine starke Veränderung in der Zusammensetzung der russischen diplomatischen Geschenken vor. Die traditionellen wertvollen Pelze werden durch dekorative Werke aus dem Farbstein ersetzt. Geschnitzte Werke aus Malachit, Jaspis, Porphyr, Rhodonit werden zum obligatorischen Attribut des Ausdrucks der Anerkennung und der Dankbarkeit. Diese Symbole der russischen Begünstigung werden großzügig im Auftrag der russischen Kaiser an die Staatsoberhäupter, prominente Diplomaten, Künstler und Banker verschenkt.
Die Vertreter der Österreichisch-ungarischen Monarchie waren keine Ausnahme. Seit der ersten antinapoleonischen Koalition bis zum Ende des XIX Jahrhunderts wurden regelmäßig verschiedene Werke der russischen Steinmetze nach Wien geschickt. Unter den Empfängern waren nicht nur Mitglieder der regierenden Dynastie sondern auch große Diplomaten. Man konnte leider viele Geschenke, die in Dokumenten eingetragen sind, in den Sammlungen von Österreich nicht identifizieren. Einige Werke befinden sich nach der Teilung Österreich-Ungarn in den Ländern, die früher Teile des Reiches waren.
Zusammengesammelte Bescheinigungen, bekannte Werke und Analoga der noch nicht entdeckten Geschenken ermöglichen das Bild der russisch-österreichischen Beziehungen zu vervollständigen und betonen die Rolle Österreichs in der europäischen Geschichte des betrachteten Zeitraums.
Die Vertreter der Österreichisch-ungarischen Monarchie waren keine Ausnahme. Seit der ersten antinapoleonischen Koalition bis zum Ende des XIX Jahrhunderts wurden regelmäßig verschiedene Werke der russischen Steinmetze nach Wien geschickt. Unter den Empfängern waren nicht nur Mitglieder der regierenden Dynastie sondern auch große Diplomaten. Man konnte leider viele Geschenke, die in Dokumenten eingetragen sind, in den Sammlungen von Österreich nicht identifizieren. Einige Werke befinden sich nach der Teilung Österreich-Ungarn in den Ländern, die früher Teile des Reiches waren.
Zusammengesammelte Bescheinigungen, bekannte Werke und Analoga der noch nicht entdeckten Geschenken ermöglichen das Bild der russisch-österreichischen Beziehungen zu vervollständigen und betonen die Rolle Österreichs in der europäischen Geschichte des betrachteten Zeitraums.
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О родственных связях владельцев частного фарфорового завода, двух директоров Екатеринбургской гранильной фабрики и одного из первых хранителей фондов Свердловского областного краеведческого музея начала 1930-х годов, и объединившей их в... more
О родственных связях владельцев частного фарфорового завода, двух директоров Екатеринбургской гранильной фабрики и одного из первых хранителей фондов Свердловского областного краеведческого музея начала 1930-х годов, и объединившей их в одно дерево горной династии.
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Будрина Л.А. (2014) Орнитофауна объемной мозаики: зарождение жанра и вопрос авторства российских произведений (к проблеме атрибуции камнерезных работ) / Avifauna in relief mosaic: the birth of the genre and the question of authorship of works of Russian (the problem of attribution of stonecutting...more
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The article examines the activity of a little-known privately owned enterprise that competed with the Yekaterinburg Imperial Stone-Cutting Factory in the 1860s–1880s, its owner and produce. The author provides information about the... more
The article examines the activity of a little-known privately owned enterprise that competed with the Yekaterinburg Imperial Stone-Cutting Factory in the 1860s–1880s, its owner and produce. The author provides information about the participation of the factory in question in national and international exhibitions, as well as information about the evaluation of works given by both Russian and foreign specialists. for the First time in history, illustrations collected with regard to the attribution of works give a pictorial presentation of the factory’s range of product
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The development of stone cutting crafts in the Urals is closely related to the Romanov dynasty. Despite its geographical remoteness from the capital of the Russia, from the very beginning Yekaterinburg lapidary factory was focused on the... more
The development of stone cutting crafts in the Urals is closely related to the Romanov dynasty. Despite its geographical remoteness from the capital of the Russia, from the very beginning Yekaterinburg lapidary factory was focused on the execution of court orders. In this context, the presence of Russian monarchs’ portraits among the works of Ural craftsmen seems quite natural.
If we take into account the dominant forms of stone cutting art, methods of execution, materials and functionality of the images, we can single out three main stages in the appealing to the images of the Romanovs in the period under review.
The first stage came at the end of the XVIIIth - early XIXth century. This is the period of rising interest in cameo art associated with the strong influence of the personal predilections of the Empress Catherine II. The gradual decline of interest in cameos, which coincided with a period of active large decorative forms creation, improvement of Russian and mastering Florentine mosaic techniques, fell on the reign of the Emperor Nicholas I.
A new stage in the stone-cutting iconography of the ruling dynasty begins in connection with the preparation and celebration of the Millennium of Rus’. This celebration, initiated by the Emperor Alexander II, became the impetus to the emergence of a new kind of traditional Ural stone cutting crafts – desk seal genre. In 1861 the first portraits-busts made of rock crystal with the use of the traditional Ural combination of polished and matted surfaces appeared.
Monograms became an essential part of the Romanovs’ iconography in the Ural stone cutting art heritage. The peak of such stone products decoration popularity fell on the reign of Alexander III.
The turn of the XIXth – XXth centuries was marked by the creation of a new genre of royal portraits – the trim on the congratulatory address or decorative element. These sites are known to us due to the sketches and archival photographs. Basing on the works of sculptors and graphic artists, the Urals craftsmen perpetuated the ruling dynasty in the material that was the most familiar to them, thus they created an original stone portrait gallery.
If we take into account the dominant forms of stone cutting art, methods of execution, materials and functionality of the images, we can single out three main stages in the appealing to the images of the Romanovs in the period under review.
The first stage came at the end of the XVIIIth - early XIXth century. This is the period of rising interest in cameo art associated with the strong influence of the personal predilections of the Empress Catherine II. The gradual decline of interest in cameos, which coincided with a period of active large decorative forms creation, improvement of Russian and mastering Florentine mosaic techniques, fell on the reign of the Emperor Nicholas I.
A new stage in the stone-cutting iconography of the ruling dynasty begins in connection with the preparation and celebration of the Millennium of Rus’. This celebration, initiated by the Emperor Alexander II, became the impetus to the emergence of a new kind of traditional Ural stone cutting crafts – desk seal genre. In 1861 the first portraits-busts made of rock crystal with the use of the traditional Ural combination of polished and matted surfaces appeared.
Monograms became an essential part of the Romanovs’ iconography in the Ural stone cutting art heritage. The peak of such stone products decoration popularity fell on the reign of Alexander III.
The turn of the XIXth – XXth centuries was marked by the creation of a new genre of royal portraits – the trim on the congratulatory address or decorative element. These sites are known to us due to the sketches and archival photographs. Basing on the works of sculptors and graphic artists, the Urals craftsmen perpetuated the ruling dynasty in the material that was the most familiar to them, thus they created an original stone portrait gallery.
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The article tracks the evolution of people's images in relief sculpture and sculpture in round, created in the three-dimensional mosaic in Europe of the Early Modern and Modern Period, exploring the origin of the Fabergé brand.
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The article studies a case in Russian-European cooperation, i.e. the work f the French jeweler Cartier placing their orders with Russian suppliers, including ones from the Urals. the analysis is made with reference to Cartier's archival... more
The article studies a case in Russian-European cooperation, i.e. the work f the French jeweler Cartier placing their orders with Russian suppliers, including ones from the Urals. the analysis is made with reference to Cartier's archival materials.
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The history of Map of France in stone mosaic
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Статья посвящена изучению одной из ключевых тем советской художественной промышленности — космической программы СССР. Авторы раскрывают ее на примере деятельности свердловского завода «Русские самоцветы». В 1950-е – 1980-е годы завод... more
Статья посвящена изучению одной из ключевых тем советской художественной промышленности — космической программы СССР. Авторы раскрывают ее на примере деятельности свердловского завода «Русские самоцветы». В 1950-е – 1980-е годы завод являлся ведущим камнерезным предприятием государства, что позволяет рассмотреть становление и развитие космической темы в камнерезном искусстве и, шире, худпроме Советского Союза. Исследователями привлечены архивные данные, некоторые из них впервые публикуотся, ранее неизвестные ученым графические
материалы из собрания Свердловского областного краеведческого музея, а также произведения из собраний музеев России
материалы из собрания Свердловского областного краеведческого музея, а также произведения из собраний музеев России
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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... more
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.
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.
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The article refers to the history of Russian stone-cutting art of the mid-twentieth century. The focus is on the technique of three-dimensional mosaic, the traditions of its application, and the continuity in the application. The... more
The article refers to the history of Russian stone-cutting art of the mid-twentieth century. The focus is on the technique of three-dimensional mosaic, the traditions of its application, and the continuity in the application. The relevance of the article is due to the established and actively broadcast scheme of continuity and artistic superiority of various Russian centres, based on outdated approaches to the consideration of Russian stone-cutting art and its history. According to this concept, the development of three-dimensional mosaics takes place along the line of Faberge — Konovalenko — St. Petersburg masters of the turn of the 20th — 21st centuries. Such statements are repeated many times in publications devoted to the activities of V.Konovalenko and the history of the “St. Petersburg stone-cutting school”. Meanwhile, this concept seems to be at least incomplete. Despite the presence of earlier publications of the author devoted to this problem, a new appeal to the topic is connected with the need to once again articulate the missing “links” in the history of the development of a special stone-cutting art—figurines created using the technique of three-dimensional mosaic. The relevance of this statement is supported by the exhibition project that took place in the summer of 2022 — in the winter of 2023 in the Fabergé Museum (St.Petersburg). It showed the works of students of arts and crafts school No. 42
(now the Ural Technical School “Rifey”) for the first time in many decades, outside the Ural region. These works have become part of the exhibition of works by modern Ural stone cutters, most of the presented works are made in the technique of three-dimensional mosaics. The retrospective of the “Ural” line of development of this
direction, with the marked points of intersection with more popular masters and centres of domestic stone-cutting art, clearly proves the transparency of the boundaries between the “capitals” and “province” in this form of art.
(now the Ural Technical School “Rifey”) for the first time in many decades, outside the Ural region. These works have become part of the exhibition of works by modern Ural stone cutters, most of the presented works are made in the technique of three-dimensional mosaics. The retrospective of the “Ural” line of development of this
direction, with the marked points of intersection with more popular masters and centres of domestic stone-cutting art, clearly proves the transparency of the boundaries between the “capitals” and “province” in this form of art.
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Статья посвящена рассмотрению проблем формирования сувенирного ассортимента в 1960-е годы на крупнейшем камнерезном предприятии СССР – свердловском заводе «Русские самоцветы». Исследование ранее не освещенной в контексте деятельности... more
Статья посвящена рассмотрению проблем формирования сувенирного ассортимента в 1960-е годы на крупнейшем камнерезном предприятии СССР – свердловском заводе «Русские самоцветы». Исследование ранее не освещенной в контексте деятельности завода темы, построенное преимущественно на сохранившихся в Государственном архиве Свердловской области архивных сведениях, предлагает рассмотрение сувенира – как важной части выпускаемой ведущим в регионе в это время художественно-промышленным предприятием.
Ранее неопубликованные и неисследованные архивные материалы позволяют, во-первых, поговорить о тематических направлениях сувенирных моделей десятилетия, их истоках и развитии, проблемах однотипности и поиске новых художественных решений начиная с середины рассматриваемой десятилетия. В этом контексте особенный интерес представляют рассмотренные примеры продукции завода, связанные с важными для советской культуры персонами и крупными событиями в жизни государства, в частности с подготовкой к празднованию 100-летнего юбилея В. И. Ленина.
Во-вторых, обращение к такому нетипичному и часто выпускаемому из поля зрения отечественным искусствознанием материалу как сувенир ввиду самого типа предмета (его камерного характера и изначально заложенной необходимости яркого выражения определенной идеи) позволяет в максимальной концентрации проследить и стилистические трансформации, происходящие в отечественном декоративно-прикладном и связанном с ним художественно-промышленном искусстве. Так, в качестве возможной стилистической идентификации произведений художественной-промышленности рассматриваемого периода предлагается применение определения «поздний функционализм». На взгляд авторов, этот термин, с одной стороны, отражает уникальность художественной ситуации в сфере декоративно-прикладного искусства 1960-х. С другой, в отличие от используемого сегодня неактуального выражения «современный стиль», он способен продемонстрировать реальную связь отечественного декоративного искусства и худпрома с мировыми стилистическими тенденциями 1960-х – 1980-х годов.
Ранее неопубликованные и неисследованные архивные материалы позволяют, во-первых, поговорить о тематических направлениях сувенирных моделей десятилетия, их истоках и развитии, проблемах однотипности и поиске новых художественных решений начиная с середины рассматриваемой десятилетия. В этом контексте особенный интерес представляют рассмотренные примеры продукции завода, связанные с важными для советской культуры персонами и крупными событиями в жизни государства, в частности с подготовкой к празднованию 100-летнего юбилея В. И. Ленина.
Во-вторых, обращение к такому нетипичному и часто выпускаемому из поля зрения отечественным искусствознанием материалу как сувенир ввиду самого типа предмета (его камерного характера и изначально заложенной необходимости яркого выражения определенной идеи) позволяет в максимальной концентрации проследить и стилистические трансформации, происходящие в отечественном декоративно-прикладном и связанном с ним художественно-промышленном искусстве. Так, в качестве возможной стилистической идентификации произведений художественной-промышленности рассматриваемого периода предлагается применение определения «поздний функционализм». На взгляд авторов, этот термин, с одной стороны, отражает уникальность художественной ситуации в сфере декоративно-прикладного искусства 1960-х. С другой, в отличие от используемого сегодня неактуального выражения «современный стиль», он способен продемонстрировать реальную связь отечественного декоративного искусства и худпрома с мировыми стилистическими тенденциями 1960-х – 1980-х годов.
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В статье приводится новый взгляд на начальный этап формирования уральской ювелирной школы. На основе архивных данных анализируется масштаб ювелирного производства свердловского завода «Русские самоцветы» в 1950-х годах, рассматривается... more
В статье приводится новый взгляд на начальный этап формирования уральской ювелирной школы. На основе архивных данных анализируется масштаб ювелирного производства свердловского завода «Русские самоцветы» в 1950-х годах, рассматривается ассортиментный ряд, а также работы одного из первых представителей уральской школы В. У. Комарова раннего периода его работы на предприятии.
The article proposes a new view on the first stage of the foundation of the Ural Jewelry School. On the base of the archive documents was analyzed the truth scale of the jewelry production of the Sverdlovsk factory “Russkie Samotcvety” (Russian Precious Gems) in the 1950s, the assortment of the jewelry models, and also the pieces created by Vladimir Komarov, one of the fists representant of the Ural Jewelry School, in the early period of his work at the Sverdlovsk factory.
The article proposes a new view on the first stage of the foundation of the Ural Jewelry School. On the base of the archive documents was analyzed the truth scale of the jewelry production of the Sverdlovsk factory “Russkie Samotcvety” (Russian Precious Gems) in the 1950s, the assortment of the jewelry models, and also the pieces created by Vladimir Komarov, one of the fists representant of the Ural Jewelry School, in the early period of his work at the Sverdlovsk factory.
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The paper is dedicated to the analysis of two works from the collections of State Historical Museum (Moscow) and The Nizhny Tagil Museum-Reserve «Mining and Work Ural», the authorship of the pieces is attributed respectively to the... more
The paper is dedicated to the analysis of two works from the collections of State Historical Museum (Moscow) and The Nizhny Tagil Museum-Reserve «Mining and Work Ural», the authorship of the pieces is attributed respectively to the Italian workshop of Luigi Valadier and
Russian bronze maker Fedor Zvezdin. Was realized the comparative analysis of the pieces, executed in the gilded bronze, coloured hard stones, the analysis of the iconography and the choice of the materials, discovered, and identified engraved sources to the compositions
made by sister Isabella Piccini and painter Josef Grassi. The pieces were comparted with the analogues from the European museums
Russian bronze maker Fedor Zvezdin. Was realized the comparative analysis of the pieces, executed in the gilded bronze, coloured hard stones, the analysis of the iconography and the choice of the materials, discovered, and identified engraved sources to the compositions
made by sister Isabella Piccini and painter Josef Grassi. The pieces were comparted with the analogues from the European museums
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In Alexander Shmotiev, Ludmila Budrina, Tatiana Muntian, Serguey Shokarev. Heroes. History in Ural Stone Curving = Helde. Die Geschichte in Meisterwerken Uraler Steinkünstler = Geroy. Istoria v šedevrach uralskich kamnerezov. – [Vaduz]... more
In Alexander Shmotiev, Ludmila Budrina, Tatiana Muntian, Serguey Shokarev. Heroes. History in Ural Stone Curving = Helde. Die Geschichte in Meisterwerken Uraler Steinkünstler = Geroy. Istoria v šedevrach uralskich kamnerezov. – [Vaduz] Jekaterinburg: Liechtensteinisches Landesmuseum & ZOOM ZOOM FAMILY, 2016. – P. 12-43.
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In Alexander Shmotiev, Ludmila Budrina, Tatiana Muntian, Serguey Shokarev. Heroes. History in Ural Stone Curving = Helde. Die Geschichte in Meisterwerken Uraler Steinkünstler = Geroy. Istoria v šedevrach uralskich kamnerezov. – [Vaduz]... more
In
Alexander Shmotiev, Ludmila Budrina, Tatiana Muntian, Serguey Shokarev. Heroes. History in Ural Stone Curving = Helde. Die Geschichte in Meisterwerken Uraler Steinkünstler = Geroy. Istoria v šedevrach uralskich kamnerezov. – [Vaduz] Jekaterinburg: Liechtensteinisches Landesmuseum & ZOOM ZOOM FAMILY, 2016. – P. 12-43.
Alexander Shmotiev, Ludmila Budrina, Tatiana Muntian, Serguey Shokarev. Heroes. History in Ural Stone Curving = Helde. Die Geschichte in Meisterwerken Uraler Steinkünstler = Geroy. Istoria v šedevrach uralskich kamnerezov. – [Vaduz] Jekaterinburg: Liechtensteinisches Landesmuseum & ZOOM ZOOM FAMILY, 2016. – P. 12-43.
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Будрина Л.А. Пять столетий объемной мозаики. // Alexander Shmotiev, Ludmila Budrina, Tatiana Muntian, Serguey Shokarev. Heroes. History in Ural Stone Curving = Helde. Die Geschichte in Meisterwerken Uraler Steinkünstler = Geroy. Istoria v... more
Будрина Л.А. Пять столетий объемной мозаики. // Alexander Shmotiev, Ludmila Budrina, Tatiana Muntian, Serguey Shokarev. Heroes. History in Ural Stone Curving = Helde. Die Geschichte in Meisterwerken Uraler Steinkünstler = Geroy. Istoria v šedevrach uralskich kamnerezov. – [Vaduz] Jekaterinburg: Liechtensteinisches Landesmuseum & ZOOM ZOOM FAMILY, 2016. – P. 12-43.
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Italian mosaic of XVII-XIX century in Ekaterinburg museums
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About attribution of micro-mosaic representation of Roman Pantheon in Ekaterinburg Museum of Fine Art
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Будрина Л.А. (2013) «Вечная живопись» и «каменное кружево»: произведения итальянских мозаичистов и резчиков в собраниях екатеринбургских музеев (новые атрибуции) / "Eternal Painting" and "Stone lace": works by Italian mosaicists and carvers in the collections of museums in Ekaterinburg (new attribmore
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Alexey Denisov-Uralsky is one of the most interesting characters of the Ural artistic life of the late 19th – early 20th century. He was versatile, combining business acumen, poetical attitude to the regional nature, and intimate... more
Alexey Denisov-Uralsky is one of the most interesting characters of the Ural artistic life of the late 19th – early 20th century. He was versatile, combining business acumen, poetical attitude to the regional nature, and intimate knowledge of the Ural mineralogical riches. In the recent decades, a number of exhibitions and publication projects attracted attention to his creativity and exhibitions. One of the most important consequences was the discovery of a large number of original oeuvres of fine and decorative arts, which have expanded our knowledge of the activities of this Ural born artist.
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Five years ago, the Ekaterinburg Museum of Fine Arts celebrated our famed countryman Alexey Denisov-Uralskiy’s 150th birthday anniversary with an ambitious exhibition project that united dozens of the master’s works from state collections... more
Five years ago, the Ekaterinburg Museum of Fine Arts celebrated our famed countryman Alexey Denisov-Uralskiy’s 150th birthday anniversary with an ambitious exhibition project that united dozens of the master’s works from state collections in one building. That exhibition revealed both the public’s interest towards the artist and stonecutter’s heritage and pieces of art that had been thought to be lost.
A large number of exhibits, which used to form two lifetime expositions of 1902–1904 and 1911 named “Ural and Its Treasures”, are known to the public only due to catalogues compiled by the author and few postcards printed from Prokudin-Gorskiy’s and Golike&Vilborg Partnership’s originals. Reproduction of these images in the jubilee exhibition catalogue has become the starting point of a new exposition.
The catalogue made a Russian art collector from Saint-Petersburg Rifhat Khasanov and the Museum staff meeting. Mr. Khasanov is born in Ural. Once he recognized an image on a postcard; it was “First Snow” by Denisov-Uralskiy from his collection, which the artist painted for his second exhibition in Saint-Petersburg in 1909. A new surge of interest to Denisov-Uralskiy’s art made Rifhat Khasanov return three paintings back to Russia in the next five years.
A study “Hills and Forests” (1909) can also be included in the list of works created for 1911. exposition because the catalogue informed that several studies were displayed.
Two more paintings — “My Boat at the High Woody Coast of the Chusovaya River” and “Visokiy Stone on the Chusovaya River” — were considered irretrievably lost for Russia by the author himself. For after the St. Louis World’s Fair in 1904, works of Russian authors were sold by a dishonourable impresario to US buyers.
The new exposition in the Ekaterinburg Museum of Fine Arts is the first in more than a hundred years chance for the wide audience of Russia to have a look at these four pieces of art
A large number of exhibits, which used to form two lifetime expositions of 1902–1904 and 1911 named “Ural and Its Treasures”, are known to the public only due to catalogues compiled by the author and few postcards printed from Prokudin-Gorskiy’s and Golike&Vilborg Partnership’s originals. Reproduction of these images in the jubilee exhibition catalogue has become the starting point of a new exposition.
The catalogue made a Russian art collector from Saint-Petersburg Rifhat Khasanov and the Museum staff meeting. Mr. Khasanov is born in Ural. Once he recognized an image on a postcard; it was “First Snow” by Denisov-Uralskiy from his collection, which the artist painted for his second exhibition in Saint-Petersburg in 1909. A new surge of interest to Denisov-Uralskiy’s art made Rifhat Khasanov return three paintings back to Russia in the next five years.
A study “Hills and Forests” (1909) can also be included in the list of works created for 1911. exposition because the catalogue informed that several studies were displayed.
Two more paintings — “My Boat at the High Woody Coast of the Chusovaya River” and “Visokiy Stone on the Chusovaya River” — were considered irretrievably lost for Russia by the author himself. For after the St. Louis World’s Fair in 1904, works of Russian authors were sold by a dishonourable impresario to US buyers.
The new exposition in the Ekaterinburg Museum of Fine Arts is the first in more than a hundred years chance for the wide audience of Russia to have a look at these four pieces of art
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The article focuses on one aspect of the artistic work of Yekaterinburg-born painter, A. K. Denisov-Uralsky: the genesis and evolution of The Forest Fire. The article sheds light on the fate of this famous 1898 painting, including its... more
The article focuses on one aspect of the artistic work of Yekaterinburg-born painter, A. K. Denisov-Uralsky: the genesis and evolution of The Forest Fire. The article sheds light on the fate of this famous 1898 painting, including its exhibition history in Russia, its reproduction with the help of S. M. ProkudinGorsky (a pioneering specialist in colour photography), its appearance in the St. Louis World’s Fair, and its further reproduction and exhibitions while in the United States between 1904 and 1979. The article also documents the subsequent variations of the same motif, which the painter created for his 1911 exhibition The Urals and Their Treasures. The author further examines interpretations of the same theme by Russian and non-Russian artists who were predecessors and contemporaries of Denisov-Uralsky. The article analyzes the influence of Denisov-Uralsky’s painting on North American artists, by examining similarities in the composition and recurrences of the theme in works both by beginning painters and masters. Resulting from systematic research and analysis, the article makes apparent the significance of the wildfire theme in the work of Denisov-Uralsky. Artworks from the Yekaterinburg Museum of Fine Arts are at the basis of such research, along with the works from world museums and private collections, which have yet to be scrutinized for the thematic history of wildfires. The comparison of artwork and approaches to the theme of wildfires allows for conclusions about the appeal of this artistic theme in general and of its interpretation in particular.
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Exhibition named “...More than an artist...” celebrating the 150th anniversary of A. K. Denissoff- Ouralsky opened on February 19, 2014 in Ekaterinburg Museum of Fine Arts. For the first time a series of 15 compositions “Allegorical figures... more
Exhibition named “...More than an artist...” celebrating the 150th anniversary of A. K. Denissoff- Ouralsky opened on February 19, 2014 in Ekaterinburg Museum of Fine Arts. For the first time a series of 15 compositions “Allegorical figures of the warring powers” created by the artist in 1914– 1916 is being presented within one exposition environment. The exhibition presents a summary of a program of research which required an analysis of the author’s text-program and descriptions made by the contemporaries, comparison of these texts with the archive photos and the study of the preserved works and their fragments. The work performed made possible the restoration of the series of 15 artistic works in their integrity, study the underlying motives of its creation, and indentify sources of the powerful and expressive imagery
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Alexei Kozmich Denissoff-Ouralsky returned to Ekaterinburg in the spring of 2014. Thanks to a big and well highlighted exhibition. An extraordinary man, as far as his looks and activity were concerned: the exhibition gave a full picture... more
Alexei Kozmich Denissoff-Ouralsky returned to Ekaterinburg in the spring of 2014. Thanks to a big and well highlighted exhibition. An extraordinary man, as far as his looks and activity were concerned: the exhibition gave a full picture of his life. He was an artist, a stone-cuter, a businessman, a public activist and collector. A great patriot and propagandist of the Urals, he was also the author of works that could compete with those of Faberge, Cartier's supplier. He was one of those masters whose name was always surrounded by numerous mysteries.
Article speak about the exhibition and, of course, about the personality of the charismatic lover of the Urals.
Article speak about the exhibition and, of course, about the personality of the charismatic lover of the Urals.
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The article focuses on one aspect of the artistic work of Yekaterinburg-born painter, A. K. Denisov-Uralsky: the genesis and evolution of The Forest Fire. The article sheds light on the fate of this famous 1898 painting, including its... more
The article focuses on one aspect of the artistic work of Yekaterinburg-born painter, A. K. Denisov-Uralsky: the genesis and evolution of The Forest Fire. The article sheds light on the fate of this famous 1898 painting, including its exhibition history in Russia, its reproduction with the help of S. M. Prokudin-Gorsky (a pioneering specialist in colour photography), its appearance in the St. Louis World’s Fair, and its further reproduction and exhibitions while in the United States between 1904 and 1979. The article also documents the subsequent variations of the same motif, which the painter created for his 1911 exhibition The Urals and Their Treasures. The author further examines interpretations of the same theme by Russian and non-Russian artists who were predecessors and contemporaries of Denisov-Uralsky. The article analyzes the influence of Denisov-Uralsky’s painting on North American artists, by examining similarities in the composition and recurrences of the theme in works ...
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Статья посвящена атрибуции комплекса произведений фарфора из собрания Екатеринбургского музея изобразительных искусств, поступившего в фонды музея в 1960 году из собрания известного свердловского архитектора и коллекционера К. Т. Бабыкина... more
Статья посвящена атрибуции комплекса произведений фарфора из собрания Екатеринбургского музея изобразительных искусств, поступившего в фонды музея в 1960 году из собрания известного свердловского архитектора и коллекционера К. Т. Бабыкина (1880–1960). Переданная в музей коллекция отличается необычной для уральских частных собраний первой половины XX века широтой представленности произведений отечественных и западноевропейских фарфоровых мануфактур XIX – начала XX века.
Непосредственным поводом для подготовки публикации послужили выявленные в составе этого собрания и ранее не исследованные уникальные предметы собственной живописной мастерской князя Н. Б. Юсупова (1750–1831). В музейных и частных собраниях музеев России образцы этого частного предприятия встречаются достаточно редко. Кроме того, согласно указанной маркировке, произведения из коллекции екатеринбургского музея на сегодняшний день являются наиболее ранними выявленными образцами этой мастерской.
В статье приводятся сведения, подтверждающие атрибуцию предметов живописной мастерской Юсупова, включающие расшифровку маркировки, а также сравнительный анализ декора
произведений, характерного для европейского фарфора конца XVIII – первой четверти XIX века, с живописными приемами других европейских и отечественных предприятий.
Непосредственным поводом для подготовки публикации послужили выявленные в составе этого собрания и ранее не исследованные уникальные предметы собственной живописной мастерской князя Н. Б. Юсупова (1750–1831). В музейных и частных собраниях музеев России образцы этого частного предприятия встречаются достаточно редко. Кроме того, согласно указанной маркировке, произведения из коллекции екатеринбургского музея на сегодняшний день являются наиболее ранними выявленными образцами этой мастерской.
В статье приводятся сведения, подтверждающие атрибуцию предметов живописной мастерской Юсупова, включающие расшифровку маркировки, а также сравнительный анализ декора
произведений, характерного для европейского фарфора конца XVIII – первой четверти XIX века, с живописными приемами других европейских и отечественных предприятий.
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Completing the porcelain and art glass collection of Ekaterinburg Museum of Fine Arts on the example of five important acquisitions
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Статья посвящена атрибуции предметов из фарфорового сервиза с портретными росписями, выполненного на одном из частных фарфоровых производств Франции в середине XIX в., хранящихся в собрании Екатеринбургского музея изобразительных... more
Статья посвящена атрибуции предметов из фарфорового сервиза с портретными росписями, выполненного на одном из частных фарфоровых производств Франции в середине XIX в., хранящихся в собрании Екатеринбургского музея изобразительных искусств. Приводятся данные об истоках формы, истории использованных приемов декорирования фарфора: определяются источники портретных изображений. В результате исследования уточнена атрибуция предметов, определен круг изображенных в портретах резервов, выявлены живописные произведения и их графические интерпретации, послужившие образцами для росписей предметов сервиза.
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Винокуров С.Е., Будрина Л.А. Всемирные выставки второй половины XIX века как один из источников китайских реминисценций в отечественном камнерезном искусстве // Известия Уральского федерального университета. Серия 2. Гуманитарные науки. №... more
Винокуров С.Е., Будрина Л.А. Всемирные выставки второй половины XIX века как один из источников китайских реминисценций в отечественном камнерезном искусстве // Известия Уральского федерального университета. Серия 2. Гуманитарные науки. № 1 (160) 2017. Т. 19. – Екатеринбург, 2017. – С. 62-74.
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Книга посвящена анализу принципов работы европейских камнерезов и ювелиров с дальневосточным художественным наследием и его роли в стилистическом развитии камнерезного и ювелирного искусства второй половины XIX — первой трети XX века.... more
Книга посвящена анализу принципов работы европейских камнерезов и ювелиров с дальневосточным художественным наследием и его роли в стилистическом развитии камнерезного и ювелирного искусства второй половины XIX — первой трети XX века.
Первые две части книги знакомят с историей «восточных стилей» в европейском декоративно-прикладном искусстве, а также с изменениями в путях и механизмах проникновения экзотических мотивов в искусство Европы второй половины XIX столетия.
Рассмотрение китайских и японских реминисценций разделено на четыре стилистикохронологических периода, что позволило систематизировать конкретный художественный материал и выявить внутренние закономерности в подходах европейских художников к работе с экзотическим материалом. Монография содержит краткий справочник основных мастеров и мастерских, чьи произведения рассматриваются в книге. Издание рассчитано на представителей гуманитарной науки, а также всех тех, кто интересуется историей культуры и искусства и проблемами кросс-культурных связей в искусстве.
Первые две части книги знакомят с историей «восточных стилей» в европейском декоративно-прикладном искусстве, а также с изменениями в путях и механизмах проникновения экзотических мотивов в искусство Европы второй половины XIX столетия.
Рассмотрение китайских и японских реминисценций разделено на четыре стилистикохронологических периода, что позволило систематизировать конкретный художественный материал и выявить внутренние закономерности в подходах европейских художников к работе с экзотическим материалом. Монография содержит краткий справочник основных мастеров и мастерских, чьи произведения рассматриваются в книге. Издание рассчитано на представителей гуманитарной науки, а также всех тех, кто интересуется историей культуры и искусства и проблемами кросс-культурных связей в искусстве.
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Статья посвящена рассмотрению нескольких кейсов, демонстрирующих важную роль издательской продукции в распространении восточных мотивов и сюжетов в декоративно-прикладном искусстве Западной Европы, России и Урала. The article is devoted... more
Статья посвящена рассмотрению нескольких кейсов, демонстрирующих важную роль издательской продукции в распространении восточных мотивов и сюжетов в декоративно-прикладном искусстве Западной Европы, России и Урала.
The article is devoted to the consideration of several cases demonstrating the important role of publication activity in the dissemination of oriental motifs and plots in the decorative art of Western Europe, Russia and the Urals.
The article is devoted to the consideration of several cases demonstrating the important role of publication activity in the dissemination of oriental motifs and plots in the decorative art of Western Europe, Russia and the Urals.
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Статья посвящена анализу опыта классического художественного музея – Екатеринбургского музея изобразительных искусств – в изучении и репрезентации региональной художественной культуры. За последние десять лет музей провёл серьезную работу... more
Статья посвящена анализу опыта классического художественного музея – Екатеринбургского музея изобразительных искусств – в изучении и репрезентации региональной художественной культуры. За последние десять лет музей провёл серьезную работу по переосмыслению постоянных экспозиций, а также плана научной, просветительской, выставочной и издательской работы. В тексте освещены основные наиболее яркие проекты, посвящённые художественной культуре Среднего Урала, а также их потенциал для формирования положительного имиджа региона.
The article is devoted to the analysis of the experience of the classical art museum the Yekaterinburg Museum of Fine Arts - in the study and representation of regional art culture. Over the past ten years, the museum has carried out serious work to rethink the permanent expositions, as well as the plan of scientific, educational, exhibition and publishing work. The text highlights the main most striking projects devoted to the artistic culture of the Middle Urals, as well as their potential for forming a positive image of the region.
The article is devoted to the analysis of the experience of the classical art museum the Yekaterinburg Museum of Fine Arts - in the study and representation of regional art culture. Over the past ten years, the museum has carried out serious work to rethink the permanent expositions, as well as the plan of scientific, educational, exhibition and publishing work. The text highlights the main most striking projects devoted to the artistic culture of the Middle Urals, as well as their potential for forming a positive image of the region.
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Камнерезный промысел является неотъемлемой частью образа Среднего Урала. История распорядилась таким образом, что многие созданные здесь произведения покинули регион сразу после завершения работы над ними. На протяжении почти полутора... more
Камнерезный промысел является неотъемлемой частью образа Среднего Урала. История распорядилась таким образом, что многие созданные здесь произведения покинули регион сразу после завершения работы над ними.
На протяжении почти полутора столетий каменные предметы были желанными дипломатическими и семейными дарами, два десятилетия после Октябрьской революции – ходовым товаром.
Парадоксом на первый взгляд кажется необходимость выезда за пределы региона и страны для изучения памятников уральского камнерезного искусства. Между тем, оказавшиеся в разное время в разных условиях произведения сегодня нуждаются в уточняющей или полной атрибуции, возвращении в контекст истории отечественного прикладного искусства.
Являясь свидетельствами исторических перипетий, эти предметы, как правило, высоко ценятся обладателями (будь то частные собрания, или государственные коллекции) и вполне способны стать опорными точками для продвижения (возвращения и актуализации) образа Урала – минералогической сокровищницы и одного из крупнейших центров обработки цветного камня.
На протяжении почти полутора столетий каменные предметы были желанными дипломатическими и семейными дарами, два десятилетия после Октябрьской революции – ходовым товаром.
Парадоксом на первый взгляд кажется необходимость выезда за пределы региона и страны для изучения памятников уральского камнерезного искусства. Между тем, оказавшиеся в разное время в разных условиях произведения сегодня нуждаются в уточняющей или полной атрибуции, возвращении в контекст истории отечественного прикладного искусства.
Являясь свидетельствами исторических перипетий, эти предметы, как правило, высоко ценятся обладателями (будь то частные собрания, или государственные коллекции) и вполне способны стать опорными точками для продвижения (возвращения и актуализации) образа Урала – минералогической сокровищницы и одного из крупнейших центров обработки цветного камня.
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Самоцветное богатство России на протяжении XVIII–XIX века являлось одним из важных катализаторов развития отечественной минералогии. Яркой иллюстрацией широкой увлеченности ею является неожиданное размещение рисунков и названий минералов... more
Самоцветное богатство России на протяжении XVIII–XIX века являлось одним из важных катализаторов развития отечественной минералогии. Яркой иллюстрацией широкой увлеченности ею является неожиданное размещение рисунков и названий минералов на листах знаменитой «Азбуки» Е.М. Бём.
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The gem treasures of Russia were one of the important catalysts for the development of domestic mineralogy in 18–19th centuries. A vivid illustration of the broad popularity of minerals is the unexpected use of drawings and names of... more
The gem treasures of Russia were one of the important catalysts for the development of domestic mineralogy in 18–19th centuries. A vivid illustration of the broad popularity of minerals is the unexpected use of drawings and names of minerals on the pages of the famous "ABC Book" by Elisabeth M. Boehm.
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About stone paperweight ornamented by still life with berries
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Музей между Гражданской и Великой Отечественной войной: судьба людей, коллекций, зданий: сборник докладов всероссийской конференции. 10–12 октября 2018 г. / Екатеринбургский музей изобразительных искусств, Государственный Эрмитаж. –... more
Музей между Гражданской и Великой Отечественной войной: судьба людей, коллекций, зданий: сборник докладов всероссийской конференции. 10–12 октября 2018 г. / Екатеринбургский музей изобразительных искусств, Государственный Эрмитаж. – Екатеринбург, 2018. – 176 с.: ил.
Сборник содержит доклады всероссийской конференции, посвященной существованию отечественных музе-
ев в период между Гражданской и Великой Отечественной войной. В представленных материалах рассматрива-
ются вопросы музейного строительства, применения новых подходов в теории музейного дела, комплектования,
сохранения и изучения музейных фондов, исчезновения коллекций и музеев, их перепрофилирования в рамках
политики советского государства, а также деятельность музейных специалистов на пути сохранения культурного
наследия.
Сборник содержит доклады всероссийской конференции, посвященной существованию отечественных музе-
ев в период между Гражданской и Великой Отечественной войной. В представленных материалах рассматрива-
ются вопросы музейного строительства, применения новых подходов в теории музейного дела, комплектования,
сохранения и изучения музейных фондов, исчезновения коллекций и музеев, их перепрофилирования в рамках
политики советского государства, а также деятельность музейных специалистов на пути сохранения культурного
наследия.
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Музей и революция 1917 года в России: судьба людей, коллекций, зданий (из цикла «Музей и война») : сборник докладов всероссийской конференции, 15–17 ноября 2017 г. / Государственный Эрмитаж, Екатеринбургский музей изобразительных... more
Музей и революция 1917 года в России: судьба людей, коллекций, зданий (из цикла «Музей и война») : сборник
докладов всероссийской конференции, 15–17 ноября 2017 г. / Государственный Эрмитаж, Екатеринбургский
музей изобразительных искусств. – Екатеринбург, 2017. – 204 с. : ил.
докладов всероссийской конференции, 15–17 ноября 2017 г. / Государственный Эрмитаж, Екатеринбургский
музей изобразительных искусств. – Екатеринбург, 2017. – 204 с. : ил.
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Газета Екатеринбургского музея изобразительных искусств
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Каталог выставки. – Екатеринбург, 2016 - 209 с.
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Музей и война: судьба людей, коллекций, зданий. Сборник докладов всероссийской научно-практической конференции, приуроченной к 80-летию Екатеринбургского музея изобразительных искусств и 75-летию эвакуации коллекций Государственного... more
Музей и война: судьба людей, коллекций, зданий. Сборник докладов всероссийской научно-практической конференции, приуроченной к 80-летию Екатеринбургского музея изобразительных искусств и 75-летию эвакуации коллекций Государственного Эрмитажа на Урал. 4—6 апреля 2016 г. – Екатеринбург, 2016. – 308 с.
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Сборник тезисов Всероссийской научно-практической конференции
14-15 апреля 2015 года
Collection of abstracts of All-Russian Scientific-Practical Conference
April 14-15, 2015
14-15 апреля 2015 года
Collection of abstracts of All-Russian Scientific-Practical Conference
April 14-15, 2015
Research Interests:
Сборник материалов Всероссийской научно-практической конференции
18-19 февраля 2014
Collection of abstracts of All-Russian Scientific-Practical Conference
February 18-19, 2014
18-19 февраля 2014
Collection of abstracts of All-Russian Scientific-Practical Conference
February 18-19, 2014