Art and Literature Scientific and Analytical Journal Texts 4.2013 Bruxelles, 2013 EDITORIAL BOARD Chief editor Burganova M. A. Pletneva A. A. (Russia) — Candidate of Sciences, research associate of Russian Bowlt John Ellis (USA) — Doctor of Language Institute of the Russian Academy Science, Professor of Slavic Languages of Sciences; and Literatures in University of Southern Pociechina Helena (Poland) — Doctor California; of Science; Profesor of the University of Burganov A. N. (Russia) — Doctor of Warmia and Mazury in Olsztyn; Science, Professor of Stroganoff Moscow Pruzhinin B. I. (Russia) — Doctor of State Art Industrial University, Full-member Sciences, Professor, editor-in-chief of of Russia Academy of Arts, National Artist of Problems of Philosophy; Russia, member of the Dissertation Council Ryzhinsky A. S. (Russia) — Candidate of of Stroganoff Moscow State Art Industrial Sciences, Senior lecturer of Gnesins Russian University; Academy of Music; Burganova M. A. (Russia) — Doctor of Sahno I. M. (Russia) — Doctor of Sciences, Science, Professor of Stroganoff Moscow Professor of Peoples’ Friendship University State Art Industrial University, Full-member of Russia; of Russia Academy of Arts, Honored Artist of Sano Koji (Japan) Professor of Russia, member of the Dissertation Council Toho Gakuyen University of Music of Stroganoff Moscow State Art Industrial (Japan) — Professor of Toho Gakuyen University, editor-in-chief; University of Music; Glanc Tomáš (Germany) — Doctor of Shvidkovsky Dmitry O. (Russia) — Vice- Science of The Research Institute of East President of Russian Academy of Arts and European University of Bremen (Germany), its secretary for History of Arts, and Full and assistant professor of The Charles member; Rector of Moscow Institute of University (Czech Republic); Architecture, Doctor of Science, Professor, Kazarian Armen (Russia) — Architectural Full member of Russian Academy of historian, Doctor of Fine Arts in The State Architecture and Construction Sciences, Full Institute of Art History, Advisor in Academy member of the British Academy; of Architecture and Construction Sciences; Tanehisa Otabe (Japan) — Doctor of Sience, Kravetsky A. G. (Russia) — Candidate of Professor, Head of Department of Aesthetics Sciences, research associate of Russian at Tokyo; Language Institute of the Russian Academy Tolstoy Andrey V. (Russia) — Doctor of of Sciences; Sciences, professor in the History of Art at the Lavrentyev Alexander N. (Russia) — Moscow State Institute of Architecture, a Full- Doctor of Arts, Professor of Stroganoff member of the Russian Academy of Fine Arts Moscow State Art Industrial University and and President of the Russian National section Moscow State University of Printing Arts; of International Association of Art Critics Misler Nicoletta (Italy) Professor of Modern (AICA) affiliated with UNESCO; East European Art at the Istituto Universitario Tsivian Yuri (USA) — Doctor of Science, Orientale, NaplesPavlova I. B. — Candidate Professor, University of Chicago, of Sciences, Senior Researcher of Institute of Departments: Cinema and Media Studies, Art World Literature of the Russian Academy of History, Slavic Languages and Literatures. Sciences; Editor Smolenkova J. (Russia) ISSN 2294-8902 © TEXTS, 2013 TABLE OF CONTENTS Alexander N. Burganov The Albertina, Vienna: Michelangelo and His Time 5 Roman M. Perelshtein A Failed Saint in Archie Mayo’s the Petrified Forest 12 Nadia V. Japova Claude Debussy: le génie français contre l’influence allemande 16 Dmitriy N. Antropov Representation of a technical object in a work of art 25 Kirill N. Cheburashkin Project and art aspects of using inner stressed structures in residential ambiance 35 Elena A. Cheburashkina Le phénomène du “design inviellisable” sur l’example des travaux des créateurs américains des années 60 du XX siècle Charles et Ray Eames 47 Nikolay K. Solovyev Religious interiors of feudal disunity period 63 Olga G. Makho La pièce la plus intime des appartements publics des souverains italiens de la Renaissance (Le studiolo dans la structure architecturale de la résidence) 77 Vera A. Dubrovina The idea of fatal beauty in the image of the Sphinx during the period of Symbolism 91 Alexander N. Burganov. The Albertina, Vienna: Michelangelo and His Time Alexander N. Burganov Doctor of Art Science Professor of The Stroganoff Moscow State Art Industrial University Full-member of Russia Academy of Arts [email protected] Moscow THE ALBERTINA, VIENNA: MICHELANGELO AND HIS TIME Summary: Stepping into the twilight of a large room, in which the only illumination comes from small shining windows, the viewer inevitably feels a sensation of being invited into another, unearthly, world. “Another” it may indeed be -but in no way an unearthly one. The windows concerned are chalk and pen sketches which illustrate “Michelangelo und Seine Zeit” (Michelangelo and his time), now on display in the Albertina museum in Vienna. The old sheets of paper in simple classical frames seem to shine from within with some magical, unreal light. They are known to bear the touch of the hands of many of the greatest artists of the past: Michelangelo, Raphael, Leonardo da Vinci and others. It is the inspiration, name and personality of each of them that is evident in these antique drawings marked with the artist’s passion, tenderness or despair. Laboring on those sheets, the masters concerned may have been conversing with god — and the viewer feels in some way, almost involuntarily, that their holy murmurs can be overheard. Keywords: Albertina, Vienna, Michelangelo. Graphic art, as perhaps the most mystical of the fine arts, reveals like no other form the lurking beat of the artist’s heart. Achieved in a flash of inspiration, a sketch rejects the very idea of any gradual elaboration or further perfection, any varnishing, embellishing, second thought or resolving effort. It is touch-and-go — God’s momentary pat on the hand — or the kiss of an angel. — 5 — Alexander N. Burganov. The Albertina, Vienna: Michelangelo and His Time 1. Michelangelo Buonarroti. Seated male nude and studies for two arms. Fragment — 6 — Alexander N. Burganov. The Albertina, Vienna: Michelangelo and His Time And here is the result, directly before the viewer: the precious evidence of the master’s intimacy with God, at a moment when his love for Him is met with response. Michelangelo’s heritage consists of works of art that are colossal in their scale. Today, when we come to look at and venerate the fruits of his divine labour, we feel like pygmies in comparison. His immense, almost infinitely broadening, ceiling and wall frescoes for the Sistine Chapel or the breathtaking giant marble statues strike anyone with their enormousness, and the sheer “Brobdingnagian” character of his titanic work. But among Michelangelo’s prodigious legacy there are also some priceless small pieces of paper, complete with pen-and-ink sketches, which actually comprise the gist of the revelations of the genius; these drawings were actually not meant to be works of art in the sense accepted for such terms in the 15th and 16th centuries. Instead, they register the birth of an idea of a future work of art -and, as such, were destined to be cast aside, treated as some “discard”, something “in- between”, to be used only in an applicative way; a kind of spadework, the inevitable waste that any creative work entails. But such “rubbish” was also supposed to be the kind of “blue ground” which produces the shining diamonds of a real masterpiece. For the artist himself, these pieces of paper often carried a certain mystic charm, because it was on them that he actually saw his future creations for the first time. Examining the sketches, the artist met the eyes of the Creator who had blessed him with talent, and was watching the master’s work approvingly — or disapprovingly. All of this may explain why true connoisseurs tend to look on Michelangelo’s sketches with particular interest: some time would pass before he would paint his famous murals, and the world would marvel at the singular eminence and grandeur of his works, while these drawings, both piercingly true and intense in their simplicity, witness something far more eloquent. For that reason, the works displayed at the Albertina Museum in this historical retrospective make the collection unique among counterparts in other countries. — 7 — Alexander N. Burganov. The Albertina, Vienna: Michelangelo and His Time 2. Raphael. Two full-length studies of male nudes. Fragment. Pen, brown ink, drawing with lead on paper. 46.5×32 cm There is no doubt that European graphic art derives from the classical vase-painting tradition that laid the basics of its principles, techniques and materials; first among them was monochromatic and linear drawing, with further inclusion of tones and overtones to give relief to the pictures. Thus, vase-painting paved the way for painting. Through adding colors and light and shade it started to flourish, progressing beyond the two- dimensional surface of the sheet of paper. What was appreciated most in classical painting was the illusion: the grapes in the picture looked so real that they would attract flies; the curtain, seemingly thrown over the picture, turns out to be impossible to remove. Such wonderful — 8 — Alexander N. Burganov. The Albertina, Vienna: Michelangelo and His Time achievements, however, were nothing more than the tricks of the trade: two or three hues of tone, a line, a shadow and an overtone. The striking sensation of a third dimension was in no way achieved