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3 7 20 24 27 37 44 48 50 56 58 64 71 76 80 86 90 96 98 101 110 112 114 российская академия художеств russian academy of arts История History Е. Кириченко. Апологет античности 3 Apologist of the Antiquity. E. Kirichenko В. Богдан. Французы в Aкадемии художеств 7 French Artists in the Russian Academy. V. Bogdan Академическая наука Academy Research Т. Кочемасова. Искусство и наука 20 Art and Science. T. Kochemasova О. Кривцун. Искусство и антропология 24 Art and Anthropology. O. Krivtsun Д. Швидковский. Творческий метод Церетели 27 Creative Method of Zurab Tsereteli. D. Shvidkovsky Музеи академии Museums of the Academy В. Богдан. Автопортрет и портрет художника 37 Self-portrait and Portrait of the Artist. V. Bogdan С. Боброва. Секреты мастерства 44 Secrets of Excellence. S. Bobrova Международные связи International Relations Н. Березницкая. Академический пленэр 48 Plein Air Academic Workshop. N. Bereznitskaya Е. Кичина. Илья Репин в Здравневе 50 Ilya Repin in Zdravnevo. Y. Kichina Академическое образование Academic Education Путешествие во имя мира 56 Journey for Peace. В. Хан-Магомедова. Универсум академии 58 Universum of Academy. V. Khan-Magomedova Персоналии Personalities И. Ломизе. Неизвестный Николай Рерих 64 Nicholas Roerich Unknown. I. L o m i z e Н. Шеховцева. Танцы в стиле ретро 71 Retro Dances. N. Shekhovtseva Выставочный комплекс академии Exhibition Halls of Academy О. Калугина. «Без скульптуры мне нет жизни» 76 «I Can’t Live Without Sculpture». O. K a l u g i n a М. Чегодаева. Три поколения художников 80 Three Generations of Artists. M. Chegodaeva Б. Олива. Структуры метафор 86 Structures of Metaphors. B. Oliva Музеи современного искусства Museums of Modern Art А. Толстой. Прозрачное время на Петровке 90 Perspicuous Time at Petrovka. A. To l s t o y Е. Зензинова. Одиночество 70-х 96 Solitude of Seventies. E. Zenzinova Л. Машанская. Портреты нонконформистов 98 Portraits of Nonconformists. L. Mashanskaya Г. Скляренко. «Худфонд» Олега Тистола 101 Oleg Tistol «Khudfond». G. Sklyarenko В. Хан-Магомедова. Хроника 103 Chronicle. V. Khan-Magomedova Обзоры Reviews А. Безгубова. Вокруг света с мольбертом 106 Around the World with Easel. A. B e z g u b o v a В. Пацюков. Поэзия городской повседневности 110 Poetry of Urban Everydayness. V. Patsyukov А. Родимкина. Театральные импровизации 112 Theatrical Improvisations. A. Rodimkina Э. Мусаева. Исповедальное искусство 114 Confessional Art. E. M u s a e v a Ю. Квасюк. Время «Всегда» 116 The Time «Forever». Yu. Kvasyuk Ю. Логинова. Спорт в искусстве 118 Sport in Art. Yu. Loginova Московская и региональная хроника 121 Moscow and Regional Chronicle к . Б . в е н и г Портрет президента Императорской Академии художеств графа Г.А. Шуазеля-Гуфье. 1864. Холст, масло. НИМ РАХ Апологет античности APoLogist oF ThE Antiquity Евгения Кириченко he French diplomat and ar- chaeologist Marie-Gabri- Evgenia Kirichenko T el-Florent-Auguste de Cho- iseul-Gouffier, was a connoisseur ранцузский дипломат и археолог Гаври- and admirer of antiquity, having in ил Августович (Мари-Габриэль-Флоран- mind the Classic Antiquity of an- Огюст) Шуазель-Гуфье, как и Мусин- cient Greece and Rome. Пушкин, был поклонником древности, De Choiseul-Gouffier presiden- но древности античной, греческой. Граф cy at the Imperial Academy of Arts Фприбыл в Россию как эмигрант, спасаясь от жестокостей (1797–1800) was marked by an ini- революции у себя на родине. Назначение графа на пост tiative aimed at transforming the президента петербургской Академии художеств отвечало teaching of art to a publicly acces- его увлечениям и пристрастиям, он получил эту высокую sible activity, opened to every tal- государственную должность благодаря последователь- ented student, regardless of his so- но и демонстративно проводимой Павлом I политики не- cial status. This was the beginning приятия революционных преобразований во Франции и of systematic preparatory art edu- борьбы с их последствиями. cation, which resulted in increased Пребывание Шуазель-Гуфье на посту президента Ака- number of pupils at the Academy демии художеств оказалось кратким (1797–1800). Вместе in addition to those educated at al- с тем французский дипломат и археолог по своим науч- ready established Educational De- ным и художественным пристрастиям и занятиям отве- partment. чал своей новой должности. Presidency of de Choiseul-Gouff- С 1776 года с группой ученых и художников Шуазель- ier was marked by the other impor- Гуфье работал в Греции, изучая и фиксируя древние па- tant events as well. V.I. Bazhenov мятники, занимаясь сбором древних преданий. Итоги was appointed to a new post, which этой работы получили отражение в пользовавшейся в was established especially for him — свое время известностью изданной графом книге. В нача- the post of the Vice-President of the ле 1780-х, будучи французским посланником в Констан- Imperial Academy of Arts. Special тинополе, он продолжил изучение греческой культуры. letter of appointment by the Emper- Итогом этой работы стала собранная им большая коллек- or Paul I was issued on February 29, ция надписей. Результаты своей работы Шуазель-Гуфье 1799. Despite the extreme brevity опубликовал в изданиях Французской академии1. of his tenure, he managed to vital- Как знаток античности и человек, искренне заинтере- ize the Academy. Emperor Paul I or- сованный в процветании искусства, Шуазель-Гуфье прини- dered the Academy: "to proceed im- мал непосредственное участие в творческих проблемах ма- mediately to a collection of designs, стеров академии. В частности, будучи ее президентом, он plans and drawings of all buildings, участвовал в обсуждении вопроса о создании скульпторами that deserve it for their exception- М.И. Козловским и И.П. Мартосом кариатид для тронного al architectonic value, ...and publish зала в Павловске, сооруженного по проекту В.Ф. Бренны, the collection under the title Russian одного из самых любимых Павлом I архитекторов. В пись- architecture.” ме конференц-секретарю Академии художеств П.П. Чека- Because of the Bazhenov’s death левскому президент писал: «Я полагаю, что художники не and the murder of the emperor, or- пожелают в точности следовать указаниям г. Бренна. Самые der was executed only partially. прекрасные из известных нам кариатид исполнены Жаном I. After the Bourbon Restora- Гужоном в одном из залов Лувра... Существуют также пре- tion he was named a Minister of красные кариатиды Эрехтейона в Афинах... но они не име- France and Peer of France, while ют рук, и я склонен думать, his large collection of ancient что они никогда их не имели. 1 Энциклопедический словарь / Издатели Ф.А. Брокгауз, И.А. Эфрон. СПб., monuments was donated to the 1908. Т. 39. С. 947; Ря з а н ц е в И.В. Императорская Академия художеств и Такой способ изображения Louvre museum. скульптурные работы общенационального значения на рубеже ХVIII–ХIX веков может показаться слишком // Русское искусство Нового времени. М., 2005. Вып. 9. С. 192–193. ACADEMIA VI• 2009 3 ИСТОРИЯ Гера (т.н. Гера Барбирини). смелым, и я признаюсь, что во всех отношениях предпо- Гипсовый слепок с мраморного оригинала. чел бы кариатиды Жана Гужона, от которых гг. Козловский Греция. V — IV вв. до н.э. (Рим, Ватикан) и Мартос могли бы позаимствовать общую идею; впрочем, НИМ РАХ осуществление ее было бы полностью предоставлено их та- ланту»2. Автор исследования о русской скульптуре И.В. Ря- занцев, характеризуя высказывание Шуазель-Гуфье, отме- чает прекрасное понимание ситуации в русском искусстве второй половины XVIII столетия: отечественный класси- цизм знал римскую античность, опирался на нее и апелли- ровал почти исключительно к ней, отсюда и соображение, что кариатиды без рук могут показаться слишком смелы- ми. Лишь в начале XIX века придут и знание, и восхищение греческой античностью, и тогда кариатиды, похожие на ка- риатид Эрехтейона, украсят спроектированный А.Н. Воро- нихиным кабинет «Фонарик» в Павловском дворце (1807). Со времени создания Академии художеств стало прави- лом выполнение ее мастерами важнейших государствен- ных заказов, в первую очередь для Петербурга и окрест- ностей. Высочайшим повелением Павла от 19 августа 1799 года предписывалось обновить обветшавшую скуль- птуру Большого каскада в Нижнем саду Петергофа. В нем говорилось: «Вместо статуй, стоящих в Петергофе на ка- скаде противу среднего сходу, отлить при Академии худо- жеств из металлу бронзы; в выборе для сего фигур придер- живаясь более старым, то есть нынешним, кои на каскаде том стоят, и когда готовых при Академии форм подходя- щим к тем статуям нет, в таком случае приготовить оные вновь»3. Созданная по этому случаю комиссия, в которую вошли скульпторы Гордеев, Мартос и Козловский, при- шла к выводу, что из-за ветхости сделать со старых статуй слепки невозможно. Поэтому ее члены предложили, что- бы четырнадцать статуй, «придерживаясь старым фигу- рам», отлить с античных оригиналов и использовать для этого имеющиеся в академии гипсовые слепки, а восемь статуй — по выполненным вновь моделям русских скуль- пторов. Что касается президента, то пожелание импера- тора «придерживаться старым фигурам» он понял бук- вально и предложил отлить новые статуи по подобию прежних из свинца. Это мнение оспорил Мартос. Он от- метил: «...Сей металл мягкой и тяжеловесной подвержен скорому изменению. Давление тяжести металла и влажно- го состава, в них заключенного, также некоторое расши- рение сего от влаги производит то действие, что свинец, будучи не крепок, дает трещины на статуе и ее скривляет, и от сего скульптура делается безобразною». В итоге, как и значилось в императорском указе, решено было отли- вать скульптуры каскада из бронзы. Новая скульптура, по- вторявшая прежнюю,
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