Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 Alexander Malinov Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258.

Переведенное название: Морозова А. В. Испанские художественные выставки в России: социокультурный контекст.: Искусство Испании в России

Результат исследований: Публикации в книгах, отчётах, сборниках, трудах конференцийстатья в сборнике материалов конференции

Выдержка

The article deals with the history of Spanish art exhibitions in Russia from the 19th century up to nowadays. The turning points of this history are closely related to the social, cultural and political situation both in Russia and in the world. It proves the relevance of one of the basic principles of art studies about the certain dependence of art research on the general cultural and ideological policy of the state. The article describes the first Spanish art exhibitions in Russia in the 19th – the early 20th centuries. The exhibitions were privately organized and presented some works from domestic collections. Only contemporary Spanish painting was brought from abroad at the time described. No works by old masters were brought, though it had already been done in other countries by the beginning of the 20th century. The reason might be the Russian –Japanese war and the Russian Revolution of 1905. After 1917 exhibitions of Spanish art (painting, drawing, applied art, weapons, posters) were held in Russia, particularly during the Civil War in Spain in 1936-1939, when the Republicans were strongly supported by the USSR. The exhibits were still from domestic museums, but the exhibitions were state funded. It was only since the Thaw that exhibitions of old painting started to come to Russia, at first from the so-called people’s democracy states. The high-class paintings by Spanish masters were also brought from capitalist countries. Intense immediate culture contacts with Spain started to develop only after General Franco’s death, since 1980. The biggest exhibition of Spanish painting from the Prado Museum was brought to the Hermitage in 1980. In the 1990s, during Perestroika, Russia started to get interested in the art of the 20th century, which was marked by a number of exhibitions of prominent modern Spanish artists. As to old masters from the Prado collection, their works were only brought to Russia again in 1998 after 1981, probably due to the economic and political instability in the country. In the last decades Russia and Spain have been actively exchanging exhibitions, within the framework of using culture as a mild diplomatic force. The author has analyzed the exhibition reports in the Hermitage and the Pushkin State Museum of Fine Arts publications, comparing the history of the exhibitions with the history of the country, defining the factors of the development of exhibition policy. The result of this analysis is the panoramic view of the Spanish art exhibitions in Russia.
Язык оригиналаанглийский
Название основной публикацииMorozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 @Alexander Malinov@ Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258.
Страницы249-258
Число страниц9
СостояниеОпубликовано - 2019

Предметные области Scopus

  • Гуманитарные науки и искусство (все)

Ключевые слова

  • Spanish Art, Spanish painters of the 20th century, Spanish painters of the 17th century, Hermitage, Pushkin Museum.

Цитировать

Морозова, А. В. (2019). Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 Alexander Malinov Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258. В Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 @Alexander Malinov@ Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258. : Испанское искусство в России. (стр. 249-258)
Морозова, Анна Валентиновна. / Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 Alexander Malinov Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258. Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 @Alexander Malinov@ Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258. : Испанское искусство в России.. 2019. стр. 249-258
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title = "Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 Alexander Malinov Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258.",
abstract = "The article deals with the history of Spanish art exhibitions in Russia from the 19th century up to nowadays. The turning points of this history are closely related to the social, cultural and political situation both in Russia and in the world. It proves the relevance of one of the basic principles of art studies about the certain dependence of art research on the general cultural and ideological policy of the state. The article describes the first Spanish art exhibitions in Russia in the 19th – the early 20th centuries. The exhibitions were privately organized and presented some works from domestic collections. Only contemporary Spanish painting was brought from abroad at the time described. No works by old masters were brought, though it had already been done in other countries by the beginning of the 20th century. The reason might be the Russian –Japanese war and the Russian Revolution of 1905. After 1917 exhibitions of Spanish art (painting, drawing, applied art, weapons, posters) were held in Russia, particularly during the Civil War in Spain in 1936-1939, when the Republicans were strongly supported by the USSR. The exhibits were still from domestic museums, but the exhibitions were state funded. It was only since the Thaw that exhibitions of old painting started to come to Russia, at first from the so-called people’s democracy states. The high-class paintings by Spanish masters were also brought from capitalist countries. Intense immediate culture contacts with Spain started to develop only after General Franco’s death, since 1980. The biggest exhibition of Spanish painting from the Prado Museum was brought to the Hermitage in 1980. In the 1990s, during Perestroika, Russia started to get interested in the art of the 20th century, which was marked by a number of exhibitions of prominent modern Spanish artists. As to old masters from the Prado collection, their works were only brought to Russia again in 1998 after 1981, probably due to the economic and political instability in the country. In the last decades Russia and Spain have been actively exchanging exhibitions, within the framework of using culture as a mild diplomatic force. The author has analyzed the exhibition reports in the Hermitage and the Pushkin State Museum of Fine Arts publications, comparing the history of the exhibitions with the history of the country, defining the factors of the development of exhibition policy. The result of this analysis is the panoramic view of the Spanish art exhibitions in Russia.",
keywords = "Spanish Art, Spanish painters of the 20th century, Spanish painters of the 17th century, Hermitage, Pushkin Museum.",
author = "Морозова, {Анна Валентиновна}",
note = "Статья посвящена истории выставок испанского искусства в России начиная с XIX в. до настоящего времени. Поворотные моменты этой истории находятся в непосредственной связи с социокультурной и политической ситуацией в стране и в мире, что доказывает актуальную для современного искусствоведения мысль об определенной зависимости направлений развития искусствоведческих исследований от общекультурной и идеологической политики государства. В статье показано, что первые выставки с включением испанских картин в России прошли еще в XIX – начале XX вв. Эти выставки были организованы частными лицами, на них были представлены произведения из собраний отечественных коллекционеров. Практика привоза выставок из-за рубежа коснулась только современной на тот момент испанской живописи. Произведения старых мастеров из-за рубежа на временные выставки не привозились, хотя в мире к началу XX в. подобный опыт уже имелся. Видимо, русско-японская война и революция 1905 г. явились тому немаловажной причиной. После 1917 г. в России проводились выставки испанского искусства (живописи, графики, прикладного искусства, оружия, плакатов). Особенно активно выставочная деятельность в этой сфере развивалась в годы Гражданской войны в Испании 1936-1939 гг. и, соответственно, в годы интенсивной поддержки республиканских сил со стороны СССР. По-прежнему это были выставки из фондов отечественных музеев, но организованные на государственные средства. Приезжать в Россию выставки старой живописи начинают только с эпохи оттепели. В первую очередь это были выставки из стран народной демократии. Первоклассные испанские полотна входили в состав выставок, приезжавших и из капиталистических стран. Интенсивные культурные контакты собственно с Испанией начались только после смерти генерала Франко с 1980 г. Крупнейшая выставка испанской живописи из Прадо была привезена в Эрмитаж в 1980 г. В 1990-е гг. в эпоху перестройки в России обозначился интерес к искусству XX в., ознаменованный целым рядом выставок современных крупных испанских мастеров. Произведения же старого искусства из Прадо были привезены после 1981 г. в следующий раз только в 1998 г., видимо, в связи с нестабильностью политической и экономической ситуации в России этих лет, вызванной перестройкой. В последние десятилетия идет активный обмен выставками между Испанией и Россией в рамках стратегии использования культуры как мягкой силы современной дипломатии. Автор статьи проанализировала отчеты о выставках в изданиях Государственного Эрмитажа и ГМИИ им. А.С. Пушкина, сопоставила вехи истории выставок с историей отечественной культуры, выявила факторы развития выставочной политики. Результатом стала достаточно показательная картина развития выставочной деятельности по истории испанского искусства в России.",
year = "2019",
language = "English",
pages = "249--258",
booktitle = "Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 @Alexander Malinov@ Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258.",

}

Морозова, АВ 2019, Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 Alexander Malinov Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258. в Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 @Alexander Malinov@ Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258. : Испанское искусство в России.. стр. 249-258.

Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 Alexander Malinov Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258. / Морозова, Анна Валентиновна.

Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 @Alexander Malinov@ Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258. : Испанское искусство в России.. 2019. стр. 249-258.

Результат исследований: Публикации в книгах, отчётах, сборниках, трудах конференцийстатья в сборнике материалов конференции

TY - GEN

T1 - Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 Alexander Malinov Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258.

AU - Морозова, Анна Валентиновна

N1 - Статья посвящена истории выставок испанского искусства в России начиная с XIX в. до настоящего времени. Поворотные моменты этой истории находятся в непосредственной связи с социокультурной и политической ситуацией в стране и в мире, что доказывает актуальную для современного искусствоведения мысль об определенной зависимости направлений развития искусствоведческих исследований от общекультурной и идеологической политики государства. В статье показано, что первые выставки с включением испанских картин в России прошли еще в XIX – начале XX вв. Эти выставки были организованы частными лицами, на них были представлены произведения из собраний отечественных коллекционеров. Практика привоза выставок из-за рубежа коснулась только современной на тот момент испанской живописи. Произведения старых мастеров из-за рубежа на временные выставки не привозились, хотя в мире к началу XX в. подобный опыт уже имелся. Видимо, русско-японская война и революция 1905 г. явились тому немаловажной причиной. После 1917 г. в России проводились выставки испанского искусства (живописи, графики, прикладного искусства, оружия, плакатов). Особенно активно выставочная деятельность в этой сфере развивалась в годы Гражданской войны в Испании 1936-1939 гг. и, соответственно, в годы интенсивной поддержки республиканских сил со стороны СССР. По-прежнему это были выставки из фондов отечественных музеев, но организованные на государственные средства. Приезжать в Россию выставки старой живописи начинают только с эпохи оттепели. В первую очередь это были выставки из стран народной демократии. Первоклассные испанские полотна входили в состав выставок, приезжавших и из капиталистических стран. Интенсивные культурные контакты собственно с Испанией начались только после смерти генерала Франко с 1980 г. Крупнейшая выставка испанской живописи из Прадо была привезена в Эрмитаж в 1980 г. В 1990-е гг. в эпоху перестройки в России обозначился интерес к искусству XX в., ознаменованный целым рядом выставок современных крупных испанских мастеров. Произведения же старого искусства из Прадо были привезены после 1981 г. в следующий раз только в 1998 г., видимо, в связи с нестабильностью политической и экономической ситуации в России этих лет, вызванной перестройкой. В последние десятилетия идет активный обмен выставками между Испанией и Россией в рамках стратегии использования культуры как мягкой силы современной дипломатии. Автор статьи проанализировала отчеты о выставках в изданиях Государственного Эрмитажа и ГМИИ им. А.С. Пушкина, сопоставила вехи истории выставок с историей отечественной культуры, выявила факторы развития выставочной политики. Результатом стала достаточно показательная картина развития выставочной деятельности по истории испанского искусства в России.

PY - 2019

Y1 - 2019

N2 - The article deals with the history of Spanish art exhibitions in Russia from the 19th century up to nowadays. The turning points of this history are closely related to the social, cultural and political situation both in Russia and in the world. It proves the relevance of one of the basic principles of art studies about the certain dependence of art research on the general cultural and ideological policy of the state. The article describes the first Spanish art exhibitions in Russia in the 19th – the early 20th centuries. The exhibitions were privately organized and presented some works from domestic collections. Only contemporary Spanish painting was brought from abroad at the time described. No works by old masters were brought, though it had already been done in other countries by the beginning of the 20th century. The reason might be the Russian –Japanese war and the Russian Revolution of 1905. After 1917 exhibitions of Spanish art (painting, drawing, applied art, weapons, posters) were held in Russia, particularly during the Civil War in Spain in 1936-1939, when the Republicans were strongly supported by the USSR. The exhibits were still from domestic museums, but the exhibitions were state funded. It was only since the Thaw that exhibitions of old painting started to come to Russia, at first from the so-called people’s democracy states. The high-class paintings by Spanish masters were also brought from capitalist countries. Intense immediate culture contacts with Spain started to develop only after General Franco’s death, since 1980. The biggest exhibition of Spanish painting from the Prado Museum was brought to the Hermitage in 1980. In the 1990s, during Perestroika, Russia started to get interested in the art of the 20th century, which was marked by a number of exhibitions of prominent modern Spanish artists. As to old masters from the Prado collection, their works were only brought to Russia again in 1998 after 1981, probably due to the economic and political instability in the country. In the last decades Russia and Spain have been actively exchanging exhibitions, within the framework of using culture as a mild diplomatic force. The author has analyzed the exhibition reports in the Hermitage and the Pushkin State Museum of Fine Arts publications, comparing the history of the exhibitions with the history of the country, defining the factors of the development of exhibition policy. The result of this analysis is the panoramic view of the Spanish art exhibitions in Russia.

AB - The article deals with the history of Spanish art exhibitions in Russia from the 19th century up to nowadays. The turning points of this history are closely related to the social, cultural and political situation both in Russia and in the world. It proves the relevance of one of the basic principles of art studies about the certain dependence of art research on the general cultural and ideological policy of the state. The article describes the first Spanish art exhibitions in Russia in the 19th – the early 20th centuries. The exhibitions were privately organized and presented some works from domestic collections. Only contemporary Spanish painting was brought from abroad at the time described. No works by old masters were brought, though it had already been done in other countries by the beginning of the 20th century. The reason might be the Russian –Japanese war and the Russian Revolution of 1905. After 1917 exhibitions of Spanish art (painting, drawing, applied art, weapons, posters) were held in Russia, particularly during the Civil War in Spain in 1936-1939, when the Republicans were strongly supported by the USSR. The exhibits were still from domestic museums, but the exhibitions were state funded. It was only since the Thaw that exhibitions of old painting started to come to Russia, at first from the so-called people’s democracy states. The high-class paintings by Spanish masters were also brought from capitalist countries. Intense immediate culture contacts with Spain started to develop only after General Franco’s death, since 1980. The biggest exhibition of Spanish painting from the Prado Museum was brought to the Hermitage in 1980. In the 1990s, during Perestroika, Russia started to get interested in the art of the 20th century, which was marked by a number of exhibitions of prominent modern Spanish artists. As to old masters from the Prado collection, their works were only brought to Russia again in 1998 after 1981, probably due to the economic and political instability in the country. In the last decades Russia and Spain have been actively exchanging exhibitions, within the framework of using culture as a mild diplomatic force. The author has analyzed the exhibition reports in the Hermitage and the Pushkin State Museum of Fine Arts publications, comparing the history of the exhibitions with the history of the country, defining the factors of the development of exhibition policy. The result of this analysis is the panoramic view of the Spanish art exhibitions in Russia.

KW - Spanish Art, Spanish painters of the 20th century, Spanish painters of the 17th century, Hermitage, Pushkin Museum.

M3 - Conference contribution

SP - 249

EP - 258

BT - Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 @Alexander Malinov@ Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258.

ER -

Морозова АВ. Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 Alexander Malinov Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258. В Morozova A. V. Spanish art exhibitions in Russia: the sociocultural context//Sgem international multidisciplinary scientific conference on social sciences and arts. Conference proceedings. Volume 6. Vienna, Austria: STEF92 Technology Ltd., 51 @Alexander Malinov@ Blvd., Sofia, Bulgaria, 2019. 11-14 April, 2019. P. 249-258. : Испанское искусство в России.. 2019. стр. 249-258