Theory and history of art. Specialty "Theory and History of Art" (bachelor's degree) Prospects for professional development of graduates

ANDart history(art history, art history), the science of art that studies the plastic arts (fine arts, decorative arts and architecture).

Art history consists of three interrelated areas: art theory, art history itself, and art criticism. Subject I.I. consists of three phenomena: the work of art itself, its author and its recipient (viewer). The complex structure of the plastic arts determines the multi-component nature of the discipline, its interdisciplinary nature and connection with related sciences (aesthetics, anthropology, cultural studies, history, psychology, sociology, philology, religious studies, literary studies, etc.).

The emergence and development of art history

As an independent scientific discipline in the system of humanities, history arose in the end. 19th century Before this, ideas about art were expressed in texts of various genres: both in treatises devoted to certain types of art, and in historical, philosophical, theological, artistic and other texts. In the ancient period, the first biographies of artists were created (Durius of Samos, 4-3 centuries BC), the foundations of the history of art (Pliny the Elder), the theory of architecture (Vitruvius) were laid, and the tradition of literature emerged. ekphrasis (Flavius ​​Philostratus the Elder, Pausanias, etc.). In the Middle Ages it means the most. phenomena were the development of ekphrasis in Byzantium (Eusebius of Caesarea, John Chrysostom, Patriarch Photius, Michael Psellus), in the West - the first experiments in the systematization of art (the treatise “On the Various Arts” by Theophilus, c. 1100), art criticism (Bernard of Clairvaux), architectural ekphrasis (Abbot Suger), as well as the development of the theory of art in scholasticism (Vincent of Beauvais, Hugh of Saint-Victor, Thomas Aquinas).

Literature about art also developed in the East. The Indian treatise “Chitralakshana” (“Characteristic Features of Painting,” early AD) combines a discussion of the technical aspects of art with iconographic prescriptions. Chinese artistic thought is represented primarily by treatises by painters: “Records on the classification of old painting” by Xie He (late 5th century - early 6th century), “Secrets of Painting” by Wang Wei (8th century), “Notes on the rules of working with a brush » Jing Hao (10th century), “The Sublime Message of Forests and Streams” by Guo Xi (11th century), the works of Su Shi (11th century), “The Eye of Painting” by Dong Qi-Chan (16th-17th centuries) and the collective “A word from a garden like a mustard seed” (17th century). Of the many Japanese works on art should be mentioned “Japan in Pictures” by Nishikawa Sukenobu (17th-18th centuries), “Conversations on Western Painting” by Shiba Kokan (18th-19th centuries) and “Notes of a Nameless Elder” by Keisai Eisen (19th century). Aesthetic and historical-artistic ideas of the Middle and Near East were reflected in the texts of Sultan Ali Mashhad (15-16 centuries), Dust-Muhammad (16 centuries), Sadig-bek Afshar (16-17 centuries). In the writings of Armenians. philosopher and artist Grigor Tatevatsi (14-15 centuries) one can find numerous aesthetic and artistic fragments.

The historical approach to art in Europe emerges during the Renaissance. In Boccaccio there are references to Giotto, in Petrarch and F. Sacchetti there are passages about S. Martini, A. Orcagna, T. Gaddi. Lives of artists are included in the “History of Florence” by F. Villani (1351) and in the treatise “On Famous People” by B. Fazio (1456), and discussions about ancient art and assessments of modern artists are included in C. Landino’s commentary on Dante’s “Divine Comedy” (1481). In M. Savonarola's sermons and treatises one can find both statements about the purpose of art in general and criticism of its modern forms. The Renaissance is characterized by the appearance of theoretical works by the artists themselves: “Treatise on Painting” by Cennino Cennini (c. 1400), “Comments” by L. Ghiberti, treatises “On Painting” (1435-36), “On the Statue” (1435), “ On architecture" (1452) by L. B. Alberti, the work of Piero della Francesca "On the Divine Perspective" (1480s), theoretical. texts by Leonardo da Vinci. Similar phenomena are observed in the North (the theoretical legacy of A. Dürer, I. Neudorfer, I. Butzbach). At the same time, in Italy, a tradition of biographies of artists was emerging (A. T. Manetti), which found its highest manifestation in the “Biographies...” of G. Vasari, the first true art historian, followed by A. Condivi, Francisco de Hollanda, as well as B. Cellini, who created the artist’s first autobiography. The beginning of classical music is associated with Raphael. archeology, and in the “Letters” of P. Aretino the first examples of art are presented. critics. The mannerist theory of art is represented by J. P. Lomazzo, L. Dolce, F. Zuccari. The Flemish humanist K. van Mander received the name “Vasari of the North”. German the science of art begins with J. von Sandrart. Classicism of the 17th century. marked by the works of the papal antiquarian J. P. Bellori (Italy), in France - the dispute between the “Poussinists” (Roland Fréard de Chambray, A. Félibien) and the “Rubensists” (Roger de Pille).

The Age of Enlightenment is marked by both examples of early art. criticism in France (J.-B. Dubos, “Salons” by D. Diderot), and experiments in creating the history of art (“History of Italian painting” by L. Lanzi, 1789, Italy). Artists still often acted as art theorists (in England - “The Analysis of Beauty” by W. Hogarth, 1753 and “The Theory of Painting” by J. Reynolds). The formation of the theory of I. occurred mainly. in Germany in close connection with the development of Enlightenment aesthetics (G.E. Lessing, J.W. Goethe, F. Schiller), German. romanticism (W.G. Wackenroder, L. Tieck, K.W.F. Solger, brothers A. and Fr. Schlegel, F.K. Baader, Novalis), German philosophical idealism (aesthetic works of I. Kant, G. V.F. Hegel). The final formation of the scientific approach is associated with the name of I. I. Winkelman, thanks to whom the history of art was realized as an integral process, and not as a series of individual artists .

History and methodology of the history of art as a science

First floor - sir. 19th century — time of intensive accumulation of actual material and development of I.I. within the framework of general history (German scientists K.F. Rumohr, I.D. Passavant, G.F. Waagen). At the same time, scientists of the so-called. Berlin school, formed under the influence of G. W. F. Hegel, wrote fundamental works for the science of art: “Guide to the History of Art” by F. T. Kugler (1842), “History of Italian and Dutch Painting” by G. G. Goto (1843), 8 volumes of “History of Fine Arts” by K. Schnaase (1843-79).

Positivism in I.I. showed himself in the so-called cultural-historical school, represented by the French. scientists I. Taine, E. Fromentin, E. Viollet-le-Duc, architectural historians O. Choisy (France) and J. Fergusson (Great Britain), as well as G. Semper (Germany). The concept of art history by J. Burckhardt (Switzerland) stands apart, with his original and very influential concept of history and art as a series of life and artistic “tasks” solved in creativity. In general, by the 2nd half. 19th century century, under the influence of experimental psychology (studies of visual perception) and artistic criticism (in France - Stendhal, V. Hugo, T. Gautier, the Goncourt brothers, C. Baudelaire, E. Zola) the prerequisites were formed for the transformation of I.I. in independent science, which was marked by the formation of the structure of methods and directions of I.I., which retain their importance in modern science.

Knowledge is the primary method of studying art, determining all other methods of research; it is associated with the tasks of recognizing a monument (linking it to a specific place, time and master), which requires both source knowledge and analysis of individual manner (“hands”), style, which can be correlated with broader artistic communities - the style of a school, region , eras, etc. Empiricism and intuitionism, the priority of “judgment of the eye” are the main features of this method, whose history goes back to the beginning of collecting, the activity of antiquarians—connoisseurs of “antiquities.”

The formal-stylistic method arises in i. from the idea of ​​the history of art as primarily the history of vision (see the book by A. Hildebrandt and “The Problem of Form...” (1893). The brightest representative of the formal-stylistic method is G. Wölfflin (1864-1945), a student of J. Burckhardt, who put forward the thesis about "double root of style" (the development of artistic vision and the development of ideals of beauty). In "Basic Concepts of the History of Art" (1915), the Renaissance and Baroque styles are considered as an expression of two "forms of vision", characterized by 5 pairs of conceptual oppositions (linear/pictorial, plane/ depth, closed/open form, multiplicity/unity, clarity/obscurity).In the alternative theory of artistic form and formal-stylistic methods of A. Shmarzov (1853-1936), who anticipated the phenomenological approach, the source of artistic form is the physical and mental “constitution” subject (“Basic Concepts of Art History,” 1902). For V. Pinder (1878-1947), a work of art is no longer the result of visual processes, but an objectification of the state of the human soul (“The Problem of Generation in European Art History” (1926), which presupposes a specific hermeneutics art (interpretation of known facts in the light of modern human needs). The sensational book by W. Worringer (1881-1965). “Abstraction and Empathy” (1907) considers the concepts in the title as universal forms of spiritual (and artistic) activity - a thesis that influenced the formation of modern art criticism (the theoretical justification of abstract art). Wölfflin's student J. Gantner (1896-1988) in “Revision of the History of Art” (1932) substantiated the research transition from artistic creation to artistic creativity, introducing, among other things, the concept of non-objective, intuitive and irrational “prefiguration” as the source of all creativity, the results of which are always remain unfinished (the concept of non finito). Another student of Wölfflin, P. Frankl (1878-1962), in “The System of Art History” (1938), substantiated the religious and metaphysical foundations of stylistic phenomena, subject to a well-known typology.

A separate page in the history of the formal stylistic method is the tradition of the so-called. "Vienna School of Art History", associated with the University of Vienna and the Vienna Museum of Art History. Early representatives of this tradition are R. Eitelberg von Edelberg (1817-1885) and M. Tausing (1835-1884). Next generation - Fr. Wickhoff (1853-1909), who published “The Vienna Book of Genesis” (1895), A. Riegl (1858-1905), who identified in the history of art the alternation of “haptic” and “optical” forms as the source of stylistic development, subject to the requirements and trends of the so-called. n. “artistic will”, which defines the “historical grammar” of fine art (“Questions of Style”, 1893; “Late Roman Art Industry...”, 1901; “Dutch Group Portrait”, 1902), “Historical Grammar of the History of Art”, publ. 1966). M. Dvorak (1874-1921) substantiated in his works (“The Mystery of the Art of the Van Eyck Brothers,” 1904; “Idealism and Naturalism in Gothic Art,” 1918 and lectures on the history of the Renaissance and Baroque (1905-1920) the neo-Hegelian-expressionist thesis “ history of art as a history of the spirit" (title of a posthumous collection, 1924). J. von Schlosser (1866-1938) combined the thoroughness of the source study approach ("Literature about Art", 1924) with the freedom to assimilate the latest theoretical ideas (primarily B. Croce), distinguishing in the history of art both the history of unique artistic creations and the history of artistic language, which presupposes an extra-artistic explanation of certain images. An ideologized-emotional approach to the history of art is proposed by J. Strzygowski (1867-1941), for whom the source of European formation is the artistic religious tradition of the Near and Middle East (“East or Rome?”, 1902; “The Crisis of the Spiritual Sciences,” 1922). Other representatives of the Viennese science of art are H. Tietze (1880-1954), D. Frei (1883-1962 ), K.M. Svoboda (1889-1977), O. Benes (1896-1864), O. Demus (1902-1990), O. Pekht (1902-1988), Fr. Nowotny (1903-1983), as well as H. Sedlmayr (1896-1984) and E.H.J. Gombrich (1909-2001). Close to Viennese and... was an American art historian M. Shapiro (1904-1996).

The French representative formalism, the influence of organic theory and evolutionism of the 19th century is noticeable, which determined the emotional and sensory experience of form (“The Spirit of Forms” by E. Faure, 1927). “The Life of Forms” (1934) A.-J. Fossillon (France) already reflects the influence of Wölfflin (creativity as a specific process of artistic thinking). English formalism is represented by R. Fry (“Views and Forms”, 1919), for whom the artistic form is a means of influencing the viewer; K. Bell, who proposed in his essay “Art” (1914) the concept of “meaningful form” as the ability of a work to stimulate “aesthetic feeling” regardless of content, and G. Reed, who was influenced by Worringer. The modern version of “neoformalism” as a morphology of visual imagery is presented by J. Kubler with his thesis about visual form (“formal infrastructure”) as “speech” that precedes written text (i.e. visual-literary symbolism).

In the depths of the same Viennese and. under the influence primarily of Gestalt psychology, structural analysis emerges as an alternative to the formal-stylistic approach. H. Jantzen (1881-1967), under the influence of phenomenology (professor in Freiburg together with Husserl and Heidegger), makes the transition from formalism to structuralism (“On the concept of space in the history of art,” 1938; “Value and evaluation of a work of art,” 1957). In H. Sedlmayr (1896-1984), as the “basic concepts” of his structural analysis, one can distinguish the gestalt structure as “visual character” and “critical form” (crisis and negative phenomena in the history of art, understood as the “history of the cult” - the true and false). If “The Loss of the Middle” (1948) views modern culture as a disease of the spirit, curable only by the Christian faith, then “The Origins of the Cathedral” (1951) is a project for a comprehensive hermeneutics of architecture.

The semantic approach in I.I. is represented mainly by two interrelated directions - iconography and iconology (A. Warburg, E. Panofsky, etc.). Iconography has come a long way from auxiliary source studies. discipline to a modern independent direction within the framework of I.I., which differs predominantly. interdisciplinary, intertextual in nature. Modern iconology is mainly the hermeneutics of the visual image as a result of visual activity.

In an independent direction I.I. Essayism stood out, close to artistic criticism by combining value judgments (not only of an artistic, but of a spiritual nature) with emphasized ahistoricism and methodological relativism. The origins of English essayism (which has become the most characteristic phenomenon within this movement) are the works of J. Ruskin, who went from the late romantic “Modern Painting” (1843) through the cultural and historical “Stones of Venice” (1851-1853) to the social positivism of the Oxford lectures of 1870 's The reaction to the didacticism of the late Ruskin is in the works of W. Pater, who combined ahistorical. aestheticism of “art for art’s sake” with sophisticated stylistics; this line was continued by Vernon Lee with her idea of ​​​​the exclusion of true art from everyday life. The characteristic features of the essayism of K. Clarke, a museum figure and Oxford teacher, are an understanding of art as a symbolic reality that does not imply a closure on a purely aesthetic one. experience and rejects both the “museum spirit” and modern art, devoid of humanity. Critical essayism has emerged as a method of interpreting contemporary art in German texts. scientists J. Meyer-Graefe (“History of the development of modern art”, 1887), R. Muter (“History of painting in the 19th century”, 1891-93), S. Sontag and R. Kraus. The aesthetic prose of writers, French (J. C. Huysmans, M. Proust, P. Claudel, P. Valéry, P. Eluard, A. Malraux, I. Bonnefoy), German (R. M. Rilke, E. Junger, G. Broch, K. Kraus) and others. A separate aspect of the essayistic I.I. - the work of philosophers (H. Ortega y Gasset, M. Heidegger, G. Bashlar, N. A. Berdyaev, F. A. Stepun, etc.).

Already at the birth of art as an independent science, the decisive influence was the psychological theories that accompany the science of art throughout its history. Toward a psychological direction in I.I. belong to the texts of both psychologists involved in the theory of art (R. Arnheim, USA) and psychology-oriented art historians (E. Chris, O. Kurz, R. Huyghe, all - Austria). Special contribution to I.I. introduced a psychiatric view of art and creativity, presented by C. Lombroso (Italy) and his German. a follower of M. Nordau (“Degeneration”, 1895), as well as Z. Freud, E. Kretschmer, H. Prinzhorn (Germany), K.G. Jung.

Sociological direction in I.I. offers to expand. an approach to art that takes into account such aspects as the artistic environment and artistic life, orders and patronage, the place of the artist and art in society, the reception of art from a social point of view. structures and power. It is in the sociology of art that the influence of ideology, in particular Marxism, is especially noticeable, as manifested in the Hungarians. scientists F. Antal (dominant ideology, “political faith” and social-class relations as determinants of style) and A. Hauser, who most consistently implemented the ideas of dialectical materialism. The experience of interpreting Marxist theory in a neo-romantic key is the activity of W. Benjamin (Germany), who contrasted “fascist aestheticization” and “communist politicization.” Elements of social psychology and psychoanalysis are present in “Art and Society” (1936) by G. Reed (the self of the artist and the super-ego of society and culture). An ideologically neutral development of the social issues of art, in the spirit of the cultural-historical school, is presented in “The Living Space of the Artists of the Florentine Renaissance” by the Swiss scientist M. Wackernagel (1938). Consistent struggle against the influence of materialism. doctrine is reflected in the writings of M. Mies (USA) and his “Painting of Florence and Siena after the Black Death” (1951). And if for F. Haskell (1928-2000) in a number of his texts (“Patrons and Painters”, 1963; “Discoveries in Art”, 1976; “Taste and Antiquity”, 1981; “History and Its Images”, 1993) , the history of art is the history of aesthetic taste, artistic mentality and patronage, then M. Baxandall (1933-2007) implements the postmodern sociology of art (history of art as the history of the user: the patron as a client and art as the satisfaction of his needs, taken in environmental contexts - both psychological-symbolic and literary-linguistic).

Religious approach in I.I. due to the nature of art itself, which is closely connected with religious life and cult. The subject of study is the cult (mysterial and sacramental) side of artistic practice, the moral components of art, religious life as a factor in art, and religious art itself as a subject of art history. Religious I. exists in various versions: neo-Thomist (E. Gilson and J. Maritain), existentialist (G. Marcel, N.A. Berdyaev) or phenomenological (F. Stepun). A separate and most relevant direction in the theology of the sacred image is “dogmatic poetics”, developed by A. Stock.

In general, modern history is a conceptually and methodologically open direction in the humanities. It tends either to a structuralist description of art as text and discourse (especially when it comes to understanding contemporary artistic practice), or to an anthropological understanding of the depiction. activity as the practice of creating and using intermediary images of religious, sociological, ideological, etc. purpose (with the gradual transformation of the science of art into the science of visual activity).

The science of art history in Russia

The first reasoning about will depict. art are found already in the monuments of ancient Russian writing (iconographic and technical instructions of icon-painting originals, the chapter “On painters and honest icons” of the resolutions of the Stoglavy Cathedral, 1551; descriptions of works of art in the legends of travelers to foreign lands). In the letter of Epiphanius the Wise to Abbot Cyril (c. 1415) there is a story about Theophanes the Greek and a description of the temple of St. Sofia in Constantinople. In the 17th century works by icon painters appear: “Treatise on Art” by Joseph Vladimirov and “A Word for Careful Icon Painting” by S. F. Ushakov. 18th century was marked by the appearance of the first theoretical works (“Discourses on the free arts” by P. Chekalevsky, “A short guide to the knowledge of drawing and painting...” by I. F. Urvanov), literary experiments by artists (“The Word” at the foundation of the Kremlin Palace by V. I. Bazhenov and A.P. Sumarokov, 1773), as well as numerous “magazines” (reports) of boarders of the Academy of Arts - A.P. Losenko, M.I. Kozlovsky, F.Ya. Alekseeva, F.F. Shchedrin and others, containing descriptions of works of European art.

The classicist theory of art is represented in Russia by the works of A.F. Merzlyakova (“Theory of Fine Arts”, 1812), I.P. Voitsekhovich (“The Experience of Outlining the General Theory of Fine Arts”, 1823) and others, romantic - by the works of A.I. Galich (“Experience in the Science of Fine Arts” 1826), works by I. Ya. Kronenberg, N. I. Nadezhdin (“Lectures on the Theory of Fine Arts” 1833), etc. One of the first fatherland. experiments in the history of art of modern times belong to N.A. Ramazanov (“Materials for the history of art in Russia”, 1863). Numerous artistic and critical observations can be found in the works of writers Ser. 19th century (V.F. Odoevsky, A.S. Khomyakov, P.Ya. Chaadaev). The activities of N.V. occupy a significant place in the history of Russian art criticism. Gogol, and later - V.V. Stasova. In subsequent years, the tradition of Russian essayism was represented by the names of N.N. Wrangel, P.P. Muratov, A.N. Benois, V.V. Rozanov, A. M. Efros, J. Tugenhold. The beginning of the university science of art is associated with the emergence of this discipline at Moscow (1857) and St. Petersburg (1874) universities. professors of art history were art historian and archaeologist K. K. Hertz (“On the state of painting in northern Europe from Charlemagne to the beginning of the Roman era,” 1873) and archaeologist-Egyptologist A. V. Prakhov.

The formation of domestic art is inseparable from the history of the study of ancient Russian and folk art, the first researchers of which were I.M. Snegirev and I.P. Sakharov, D.A. Rovinsky. The study of icons reaches a truly scientific level with F.I. Buslaev, N.P. Kondakov and the latter’s students (N.P. Likhachev, as well as E.K. Redin, D.V. Ainalova. Domestic history also developed within the framework of church archeology in the person of such liturgists as A.A. Dmitrievsky , A. P. Golubtsov, having reached a pan-European level in the works of N. V. Pokrovsky. The history of the study of ancient Russian architecture, crowned with the works of V. V. Suslov, is also connected with church archeology. An attempt to create a unified history of Russian architecture belongs to A. M. Pavlinov .

Early 20th century was marked by the appearance of the first generalizing art histories of P.P. Gnedich, I. E. Grabar, A. N. Benois. This tradition was later continued by the collective publications “General History of Art” (1956-65). “General history of architecture” (1944-77), “History of Russian art” (1953-69).

After 1917, the semantic (primarily iconographic) approach turned out to be ideologically unacceptable for a long time, and the father. I. focuses on the formal stylistic method. Some Russian art historians can be correlated with the Viennese tradition (N. I. Brunov, M. A. Alpatov, A. I. Nekrasov, D. Arkin); the clear influence of P. Frankl is noticeable in A. G. Gabrichesky. An emotional-aesthetic, emphatically secular approach to the material of Byzantine and ancient Russian art was practiced by V.N. Lazarev, who, however, was influenced by O. Demus. Close to the cultural-historical school are B. R. Vipper and A. A. Fedorov-Davydov. The subject-knowledge approach has always been demonstrated by numerous representatives of museum science, which originates from the “studio”. In the history of owls. And one can also observe the phenomenon of the so-called. “vulgar sociology” (V.M. Fritsche, I.I. Ioffe).

The main achievements of Russian art belong to the field of art history. The contribution of Russian science to the history of art of the ancient world is significant (M. E. Mathieu, V. V. Pavlov, N. D. Flittner, V. D. Blavatsky, O. F. Waldgauer, B. R. Vipper, Yu. D. Kolpinsky, V.K. Malmberg, B.B. Piotrovsky), medieval art (Ts.G. Nesselstrauss, V.P. Darkevich, M.Ya. Libman, K.M. Muratova, E.P. Yuvalova), art East (B.P. Dennike, N.E. Grigorovich, V.B. Merimanov, B.V. Weymarn, T.H. Starodub, G.A. Pugachenkova, K.F. Samosyuk, V.G. Belozerova, Sh.M. Shukurov, T.K. Mkrtychev, N.A. Vinogradova, N.S. Nikolaeva, E.A. Serdyuk), Renaissance art (V.P. Zubov, V.N. Lazarev, M.A. Alpatov, N.M. Gershenzon-Chegodaeva, V.N. Grashchenkov, I.E. Danilova, I.A. Smirnova, V.D. Dazhina, M.N. Sokolov, V.P. Golovin, I.I. Tuchkov, E.Yu. Zolotova), art of modern times (Yu.K. Zolotov, E.I. Rotenberg, M.I. Sviderskaya, S.M. Daniel). The achievements of Russian history are especially important in the study of Russian art, primarily ancient Russian art as part of a single Eastern Christian tradition studied by Byzantine studies. A wide range of methods are used here: multifaceted studies of architecture (M.K. Karger, N.N. Voronin, P.A. Rappoport, A.I. Komech, V.P. Vygolov, S.S. Podyapolsky, P.N. Maksimov, etc.), traditional formal stylistic method with elements of a cultural-historical approach and iconography (E.S. Smirnova, O.S. Popova, G.I. Vzdornova, L.I. Lifshits, I.L. Buseva- Davydov), and various options for the semantic approach with obligation. involving liturgics and theology (A.V. Ryndina, V.D. Sarabyanov), and the revival of the traditions of church archeology, understood as a holistic approach, most adequate to sacred material (A.L. Batalov, L.A. Belyaev). Study of fatherland. art of modern times is associated with the names of A.A. Sidorova, A.A. Fedorova-Davydova, O.S. Evangulova, D.V. Sarabyanova, G. Yu. Sternina, E. A. Borisova, E. I. Kirichenko, V. V. Kirillova, G. G. Pospelov, M.M. Allenov, A.A. Karev, D.O. Shvidkovsky, G.I. Revzina. The art of the 20th century was reflected in the research of N.N. Punina, A.I. Morozova, V.S. Turchin, A. Kamensky, O. Khan-Magomedov, M.N. Yablonskaya.

Recommended reading

Alpatov M.V. Sketches on the history of Russian art in 2 volumes.

Arnheim R. Art and visual perception.

Wölflin G. Basic concepts of art history. The problem of style evolution in new art

Whipper B.R. An introduction to the historical study of art.

Gombrich E. History of Art.

Dvorak M. History of Italian art during the Renaissance in 2 volumes. Lecture course

Panofsky E. The meaning and interpretation of fine art. Articles on art history

Friedlander M. About art and knowledge.

THEMATIC CONTENT OF THE DISCIPLINE

Topic 1. Art theory as a scientific discipline

Theory as an internally differentiated, holistic complex of ideas about the nature and essence of a phenomenon, its structure, functions and development prospects. Logical and methodological principles and rules as the basis of the theory.

The theory of art as scientific knowledge that gives a holistic idea of ​​the essence of art, the laws of its development and the system of relationships that determine it. Modern scientific knowledge and theory of art.

Theoretical knowledge about art as the reconstruction and reproduction of a human phenomenon in a continuously changing historical, sociocultural and psychological context; as about the synthesis and concentration of the spiritual experience of humanity and the realization of the human phenomenon.

Art as a functional self-developing system. Art in the cultural system. Art criticism in the system of humanities and social sciences. Subject and tasks of art criticism. Features of the formation of art criticism as a special field of scientific activity. Historically changing ideas about art and the tasks of its research. Modern structure of art historical knowledge: art history, art theory, art criticism, museology, their methodological and functional differences.

Topic 2. The concept of “art” and “artistic culture”. Artistic criteria

Artistic culture and art. Art as a subsystem of artistic culture. Artistic culture as a combined method, product and principle of organizing artistic activity. Artistic activity as a set of creative processes associated with the intellectual and sensory reflection of existence in artistic images and the recording of the latter in works of art through the language of art. Aspects of artistic culture. Spiritual content aspect (figurative idea of ​​existence, artistic picture of the world). Organizational, institutional aspect (a set of social institutions that ensure the creation, knowledge, storage, and distribution of artistic values). Morphological aspect (genera, types, genres, types, styles of art). The structure of artistic culture at the theoretical level: subjects of artistic culture (artists, art audience); artistic and cultural meanings; artistic activity; piece of art.

Types of visual activity. The problem of art and non-art. Criteria for discrimination (by the nature of the use of the image and the functions it performs). Aesthetic criterion (art is an image intended for contemplation and experience). Varieties of non-artistic visual activity and its results.

The role of technical skills in visual arts. The object-objective nature of artistic activity. Art and craft.

Magic image. Religious image. Sacred image. The cultic nature of a religious image. Icon veneration and iconoclasm as two religious and aesthetic paradigms. Image as an influence and its varieties.

Topic 3. Basic concepts of theory and history of art

The concept of “artistic reality”. Artistic reality as the unity of the culturally updated artistic heritage (including traditions, beliefs, ideas and values), the artistic practice of the era and artistic ideas that inspire the creative search for time.

Artistic reality as a reflection of the uniqueness of participation in the world-building creativity of generations, eras and the individual. Artistic reality as a special semantic context, as a mode of human perception and experience of the world.

Artistic reality as a combination of semantic layers of art of the past and modern creative search.

Multidimensionality of artistic reality. Artistic reality as intentional reality. Artistic reality and convention in art. Types of artistic convention. Conventionality in art as the realization in artistic creativity of the ability of sign systems to express the same content by different structural means.

The concept of “artistic consciousness”. Artistic consciousness as a designation of a special quality of human thinking; as a type of phenomenological consciousness. Artistic reality as a way of expression and a condition for the existence of artistic consciousness. Imagination as a tool of artistic consciousness. Specificity of artistic consciousness. Historical types of artistic consciousness.

Sign-symbolic context of artistic consciousness. The composition of artistic consciousness (current ideas about the nature of art and its language, artistic tastes and needs, ideals and aesthetic concepts, assessments and criteria formed by artistic criticism).

The concept of "art form". Form is a plastic world that exists according to its own laws and has a high degree of internal independence. The problem of polysemy of the concept of form and the main contexts of its use. Form is the internal organization of an object and form is its external appearance. Art form as a set of expressive means of creativity. Aspects of artistic form as levels of formal organization of a work (space, time, light, color, composition). Form as a means of influencing the viewer.

Creating an artistic creation as a process of searching for form. Art as a system of forms that change and maintain their relative immutability in different artistic systems. Artistic meanings and their sign-semantic expression in a work of art. Dialectics of form and content in art. The conflict between artistic concept and its material embodiment as a paradox of form. Creative, meaning-forming nature of the conflict. Paradoxes of artistic form.

The concept of "artistic ideal".

The most common entrance exams:

• Russian language
• Mathematics (basic level)
• Literature - specialized subject, at the choice of the university
• History - at the choice of university
• Creative exam - at the choice of the university

The scope of professional activity of the direction includes work related to assessing the ways of functioning of art and culture in society. Future specialists must have a number of rare and unique qualities, including artistic taste, developed imaginative, intuitive thinking, sensory memory, the ability to transfer their own knowledge, and a willingness to learn and improve themselves throughout life. Specialists of the direction take a direct part in the process of studying, forming ideas about relative trends, trends in the development of contemporary art, rethinking traditional art, significantly enriching the cultural baggage of humanity.

Admission conditions

Identification of talented applicants is carried out at the stage of admission to the university. For admission, students must prepare to pass the following entrance tests:

• Russian language;
• story;
• literature (profile);
• a creative exam, including answers to questions regarding the history of the development of art, as well as a written report on one of the topics specified by representatives of the educational institution.

The written report must be a detailed analysis of one of the works of art, including a study of visual, figurative means of creating expressiveness, expressiveness of discourse, identification and justification of the type, genre, and content of the work.

Future profession

The focus of scientific interests of future graduates includes the following aspects:

• works of art, numerous cultural monuments, which are an integral part of the artistic, cultural, historical heritage and require constant study and preservation;
• social processes, their impact on public life;
• creative and artistic processes in their influence, impact on the sphere of culture and art;
• processes of influence of art on the spiritual life of society;
• the creativity of individual masters, creative schools, movements and entire eras;
• patterns of functioning, effective activity of creative associations, unions that contribute to the production and distribution of products of creative activity;
• theory, fundamentals of art criticism.

Where to apply

Today, the following domestic universities are training future specialists in the field of art:

• Moscow State Art and Industry Academy named after. S.G. Stroganov (MGHPA named after S.G. Stroganov);
• Institute of Management, Economics, Law and Art (IUEPI);
• State Academy of Slavic Culture (GASK);
• Humanitarian Institute of Television and Radio Broadcasting named after. M.A. Litovchina (GITR named after M.A. Litovchina);
• Moscow Architectural and Civil Engineering Institute (MASI).

Training period

The duration of study (full-time) is 4 years, part-time - 5 years.

Disciplines included in the course of study

In the process of mastering the training program, the formation of a professional is carried out. competencies, as well as a fundamental theoretical base, motivate the needs for the implementation of creative activity, both in the learning process and in the implementation of subsequent professional work. activities. The formation of a fundamental theoretical base is facilitated by the study of the following main disciplines of the program:

• philosophy;
• introduction to the scientific study of art;
• history of foreign art;
• analysis of works of art;
• history of literature (domestic, foreign);
• history of art (domestic, foreign);
• general theory of art;
• history of Russian and foreign art of the 20th century;
• scientific methods of research, study of art;
• theory, history of art criticism;
• foreign language.

Acquired skills

Professional activity involves the study, analysis and subsequent systematization of the experience of preserving the cultural heritage of Russia and humanity, active participation in the development, modernization, and practical implementation of methods for organizing creative social processes; monitoring, interpretation of information regarding works of art, creation of own databases regarding the creative activity of our time, promotion of ideals, spiritual and moral guidelines of culture and art.

Effective implementation of the current tasks of promoting moral ideals, guidelines presented in the cultural heritage, and the formation of public opinion in relation to certain works of art requires a high level of professional development. competencies, including the following:

• the ability to convey professional vision, understanding of the creative processes of Postmodernism, classical art in the process of implementing pedagogical activities;
• the ability to analyze patterns, intentions for the development of creative processes of our time, predict possible trends, directions of transformation of creative processes;
• the ability to effectively organize creative activities and carry out subsequent monitoring of its implementation;
• ability to develop teaching aids and materials;
• skills in carrying out cultural and educational activities to promote moral values, ideals, guidelines in various social spheres.

Job prospects by profession

Despite the fact that today professions in this area seem to be less in demand than specialists in economic, legal, and information fields, experts predict a promising future for graduates of this particular area. For many years in Russia there was practically no training for art historians, museum experts, archivists, etc., which suggests that in the coming years these professions will be among the most relevant on the labor market. A similar situation is observed in almost all world countries, where active and targeted work on training specialists began to be carried out only in the last ten years.

A sense of beauty, creative thinking, a fundamental theoretical base and professional competencies allow specialists in this field to successfully carry out professional activities as:

• art historians;
• bibliographers;
• reviewers (methodologists);
• consultants - experts;
• teachers;
• correspondents;
• tour guides;
• literary editors.

The minimum salary for a young specialist starts from 10 thousand rubles. The maximum threshold reaches 45 thousand and above, depending on the chosen area of ​​activity and place of employment.

Prospects for professional development of graduates

This area, more than other professions, requires constant self-improvement; the majority of bachelor's graduates choose further studies in a master's degree. In addition to having the opportunity to further deepen the theoretical course of knowledge of the chosen specialty, continuing education will provide the opportunity to continue scientific and research activities at the university, obtain a master's degree that does not require re-certification when traveling abroad, which is especially important for specialists researching areas of foreign art. During the learning process, a master's student can try himself as a teacher, a promising scientist, and the master's thesis itself can become the basis for further writing a candidate's or doctoral work.

MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION

Federal state educational budgetary institution

higher professional education

SPGHPA named after. A. L. Stieglitz

Department of Art History and Cultural Studies

direction of training

Theory and history of art

Graduate qualification (degree): bachelor

form of study: correspondence

on organizing independent work

V semester 2015/2016 academic year

Saint Petersburg

2015

History of interior art……………………………………………………….....3

Western European art…………………………………….14

Russian religious and philosophical thought of the 18th-20th centuries…………..19

History of literature (ancient literature)……………………… ..22

(literature of the Middle Ages and the Renaissance)…………………30

Course work……………………………………………………..…36

Culturology………………………………………………………....42

History of DPI………………………………………………………..48

History of Christian art………………………..……..………55

History of urban planning…………………………………………………….61

Physical culture…………………………………………………………….66

History of interior art

Purpose of the discipline: to form the student’s competencies in the field of history of interior art; consider the basic concepts of designing living space in various historical eras from the Ancient World to the 20th century inclusive, as well as the stages of the formation of decorative schemes.

Objectives of the discipline:

Consider the key problems of artistic shaping of interiors of the Ancient East and Antiquity;

To study the basic models of solutions and means of artistic expression of the subject-spatial environment of interiors of the Western European Middle Ages, Renaissance and Modern times;

To introduce students to outstanding works of art of Russian interior design, to show the main stages in the formation of architectural traditions of the Russian school, as well as to identify compositional principles and means of artistic expression characteristic of works of individual eras, styles and author's handwriting;

Consider the basic concepts of artistic design of the twentieth century through familiarization with extensive material on architectural and artistic practice and the work of leading architects, artists and interior designers.

CHAPTERI. INTERIOR OF THE ANCIENT EAST AND ANTIQUE

Topic 1.Palace interior of the Ancient East. Egypt. Architecture as a leading art form. Unity of architectural techniques for organizing space in temple and palace interiors. Features of the decoration of the Great Palace at Amarna. Embedded relief technique. The system for distributing images on the walls: the logical sequence of development of plots and the symmetry of their placement. Furniture in a palace interior. Intarsia as a special case of inlay. Mesopotamia. The composition of the form, plan, floor structure in housing architecture, as well as the nature of the decoration of facades and interiors. The vault is the oldest building structure. Artistic foundations of the composition of the palace complexes of Mesopotamia. the palace of Sargon II in Dur-Sharrukin, the palace of Nebuchadnezzar in Babylon. Colored ceramic cladding, round sculpture, relief orthostats.

Topic 2. Interior of the Aegean world and Ancient Greece. Aegean art. Crete: architectural and stylistic features of the palaces in Knossos, Phaistos, Zakros, Mallia. Decoration of the front rooms: alabaster cladding, paintings. Houses of the Aegean islands. Mycenae. Fortresses and palaces of mainland pre-Greek culture: Tiryns, Pylos Megaron as the core of the planning scheme of an ancient dwelling. Ancient Greece. The pasta house is an early type of residential ancient Greek house. Furnishings and decorations. The phenomenon of Hellenism and concern for the decoration of everyday life. Peristyle house. Original decoration techniques. Pebble mosaics of Pergamon and Pella. Popular motifs and subjects of images.

Topic 3.Roman residential interior. The funeral architecture of the Etruscans is an imitation of the interiors of residential buildings with all their furnishings and utensils. Necropolises of Banditaccia in Cerveteri and Monterozzi in Tarquinia Terracotta plastic. Ancient Rome. New building materials, equipment and technologies. Concrete and the possibility of constructing long-span structures and vaulted ceilings. Hierarchical system of types of residential buildings. Insula, domus, villa: compositional features. Atrium and atrium-peristyle types of domus layout. The originality of the artistic system of decoration of residential buildings in Ancient Rome.

CHAPTERII. BYZANTIUM AND WESTERN EUROPEAN MIDDLE AGES. PRE-PETER Rus'.

Topic 4. Secular interior of Byzantium. The role of ancient heritage and eastern influence in the architecture of Byzantium. Types of urban residential buildings: multi-storey buildings, mansions. Layout of city mansions: development of the ancient tradition. The main means of architectural and artistic expressiveness in the composition of decoration of residential interiors. Polychrome marble cladding, colored tiles, decorative fabrics, mosaics in the Byzantine interior. "Sacred Chambers" of the Great Imperial Palace in Constantinople. The layout features and originality of decorative techniques for the state rooms are a consequence of their subordination to the magnificent court theatrical ceremonies. The influence of Byzantine art on the decoration of Western European interiors in the Middle Ages. Carolingian interiors (Carolingian Palatine Chapel, 8th century). Royal Palace of Palermo (1170s). Alhambra palace complex in Granada (1309, 1354), etc.

Topic 5. Interiors of the European Middle Ages. Residential buildings of the early Middle Ages (Romanesque style), their structure and decoration. Donjon towers and fortress houses. The compositional structure of the castle ensemble, the function of feudal halls, their decoration. Secular and religious subjects of wall paintings in residential interiors.

Gothic. City life and new types of buildings. Palace of the Grand Master in Marienburg. Gothic palaces: Jacques Coeur's house in Bourges, Albrechtsburg Palace. State halls and their decoration. Decorative dominants in the interiors of the late Middle Ages. Palazzo Davanzatti in Florence.

Topic 6.Building interiorspre-Petrine Rus'. Folk wooden architecture. Structural and technical features of ancient Russian architecture. Types of form and layout of a peasant residential building: timber, verb, wallet. Urban wooden houses, estates and mansions. Proportionation problem. Summer Palace of Alexei Mikhailovich in the village of Kolomenskoye near Moscow Asymmetry as an artistic device dictated by the function of parts of the building. Specifics of interior decoration. Traditions of stone “ward” architecture of the 15th – 17th centuries. Representative chambers. Chambers-palaces. Chambers of the Romanov boyars in Zaryadye.

CHAPTERIII. RENAISSANCE INTERIOR ART,

BAROQUE AND ROCOCO

Topic 7. AndRenaissance interior art. Palazzo as a new type of urban residential building. Characteristic features of new buildings in Florence: Palazzo Medici-Riccardi, Palazzo Rucellai: metaphorical use of the order. Rationalism of the artistic method of the Renaissance in interior art. A new understanding of space. Classicism of A. Palladio: Villa Foscari or “Malcontenta” (1559-1560), Villa Almerico or “Rotunda” (1570), etc. The use of elements of an ancient temple in secular architecture, stylization of the order, regular geometric shapes as the basis for the architectural volumes of buildings . Illusionistic painting in the interior. The “grotesque” ornamental system in the interior composition. Intarsia and majolica are popular techniques for decorating interiors of the Italian Renaissance.

Topic 8. Plastic expressiveness of the Baroque interior. Italian Baroque palaces are theaters for ceremonial events: emotional elation and pathos, contrasts and exaggeration. Formation of a pan-European style. Creation of grandiose architectural ensembles. Perspective and illusionistic effects of monumental and decorative painting. The ensemble of furnishings and decoration, compositional interdependence and balance of elements. Formation of a pan-European dictionary of interior design. Features of the official court style of the Sun King: Large apartments.

Topic 9. Rococo interior - a refuge fromcourt rituals. The formation of the Rococo style in French interior art. Rococo interiors as a refuge from strict court rituals. Characteristic features of mature Rococo or “Louis XV style” in the interior. Construction of city mansions taking into account new requirements for living space: convenience, differentiation of premises by function. Rocaille technique in “grotto” interiors of the 18th century. Collections of Far Eastern porcelain in a chinoiserie palace interior. Baroque and Rococo interior in Russia. The problem of forming the original “Petrine style”. Creative development of Western European artistic experience, the formation of new art and its connection with domestic artistic traditions. “Petrine Baroque”: Western European influences and national traditions in the architecture of the new capital. Chambers of the Most Serene Prince in St. Petersburg. “Rastrelli” style as an individual uniqueness of the creative style of F. B. Rastrelli the Younger and an example of mature baroque. Rococo ornamentation in baroque and early classicism interiors.

CHAPTERIV. INTERIOR OF CLASSICISM AND HISTORICISM

Tema 10.Antiquity as a role model in the interior of classicism. Canonization of ancient classics as a model for study and imitation. English Palladianism of the 17th – 18th centuries. as a prologue to neoclassicism. History of composition and original features of the “Adam Style”. Neoclassicism and its main features in French architecture. Order as a style-forming element. Search for strict forms, symmetry of construction. Development of the “Gabriel style”. Classicism in Russia. The basis of the artistic method in the era of imitation of the “model”: houses and palaces. Marble Palace. Tectonic illusoryness of the interiors of estate classicism in the “noble nests” of Russia. Hierarchical system of all components in the interior of Russian classicism. Lighting fixtures in the interior of Russian classicism. Ostankino Palace Theater. Tauride Palace. Pavlovsk Palace. Empire style system of artistic and decorative means. C. Percier and P.-F. Fontaine is the creator of the Empire style in interior design. Imperial country residences of Napoleon I. Artistic forms of Roman antiquity as a source of new interior decoration. Military emblems in architectural details and interior decor. "Egyptomania". Russian Empire style in the ceremonial interior of Russian capitals. The civil heroism of the Greek archaic and Roman antiquity as sources of inspiration for Russian architects in interior design. Military gallery of 1812 in the Winter Palace, interiors of the palace in Arkhangelskoye. Development of Russian furniture art.

Topic 11.Trends of romanticism in palace and residential interiors. Fashion for the European Middle Ages at the end of the 18th – beginning of the 19th centuries: the “Gothic Revival” movement in England, the “troubadour style” in France as manifestations of historical nostalgia. "Exoticism": Royal Pavilion, Brighton. The cult of memory in the art of the 19th century and its reflection in the art of interior design. Contrasting the world of sublime ideals with the spirit of everyday life: the birth of the “Biedermeier style.” Ideas of simplicity and practicality in the democratic environment of city apartments. Fashion for the Middle Ages and the “English manner” in decorating the interiors of country “cottages” in Russia. Apartments in tenement buildings in St. Petersburg and Moscow. The sentimental-romantic ideal of the bourgeoisie and the design of residential apartments, focusing on convenience and home comfort. “Interior genre” in Russian painting as a source study for interior decoration of the Romantic era.

Topic 12.Interior of the historicist era. The phenomenon of “recreation” of styles in interior art. Eclecticism as a creative method: stages of development. The principle of “smart selection” of artistic styles of past eras in architectural design. Buckingham Palace in London, Winter Palace in St. Petersburg, Grand Kremlin Palace in Moscow. Expressive means of various artistic styles in the decoration of facades and interiors of palaces and mansions. Equal importance of “styles” as the basis for the uniform distribution of accents in the architectural composition and the independence and equivalence of all elements in the interior. Museum of the Central School of Technical Drawing of Baron A.L. Stieglitz.

CHAPTERV. MODERN AND “MODERN MOVEMENT”

IN INTERIOR ART OF THE FIRST HALFXXCENTURIES

Topic 13.Features of the development of interior art at the turn of the centuryXIX– XX centuries Modern. The artistic practice of W. Morris and the Arts and Crafts movement: “The Red House.” Formation of a new ornament as a new system of compositional interior design. The influence of the industrial revolution on architecture and interior art: technical innovations, new materials and construction methods. “Floral” and “rational” modernity. A. Van de Velde: merging decorative and structural details into one whole: Spatial connections between different volumes of individual rooms. Functional zoning. Tassel Mansion in Brussels, S.P. Mansion Ryabushinsky in Moscow. Modern retrospectivism. National romanticism.

Topic 14. Avant-garde and modernist movements in interior art. Interior concept of “prairie houses” by F.-L. Wright and the "new architecture". Projects are manifestos. Experiments in housing design. Creative practice of the De Stijl group. Schröder's house in Utrecht. History of social utopias and the problem of organizing collective housing. Issues of equipment for a new home, the problem of standardization (El Lissitzky). K. Melnikov: the architect's own house. "International style". Industrial materials – steel and glass – as the basis for the artistic image of Mies van der Rohe’s interiors. Formulation of a new concept for designing the space of a residential building. Five principles of unity of architecture and construction according to Le Corbusier. Improving your life through effective organization of space.

Topic 15.Decorative aspect in the interior of the 20-30s. Exhibition of contemporary decorative arts and industry. Problems of the Art Deco style. Retrospective-eclectic interiors of Zh.E. Rühlmann: "Collector's Pavilion" - encyclopedia of Art Deco style in interior art. The problem of choice: mass industrial production of goods or exclusive production of items for furnishings and interior decoration. “Usonian Houses” F.-L. Wright. Interiors of US skyscrapers. Chrysler Building in New York. Strengthening neoclassical tendencies. Interiors of Moscow and Leningrad metro stations.

CHAPTERVI. INTERIOR OF THE SECOND HALF OF THE XX CENTURY

Topic 16.Post-war rationalism in interior art. Legends of modernism and followers of the masters of the first half of the twentieth century. Interiors of apartments of a “living unit” in Marseille as a reflection of the idea of ​​​​Le Corbusier’s “Radiant City”. The "modulor" principle. Aesthetics of “brutality”: interiors of the Jaoul house in Paris. Search for the archetype of form in the post-war work of L. Mies van der Rohe. A. Aalto's idea of ​​humanizing the environment as a development of the idea of ​​organic architecture. Project “House of the Future” by E. and P. Smithson at the annual exhibition of the “Ideal Dwelling” in London, 1956. Capsule architecture of “mini-universes”. The beauty of empty space in the “white villas” of R. Meyer. “Scandinavian” and “Italian” styles in interior design of the 1940s-80s. New technologies and high-tech style in public and residential interiors. Domestic experience in organizing public interiors in the 1960s-1980s: interaction of works of monumental, decorative and decorative arts with the architectural environment.

Topic 17.Interior of the postmodern era. Paradox in the compositional structure of the interior. Publication of R. Venturi “Complexities and Contradictions in Architecture” and its influence on the new artistic generation. The principles of anti-functionalism, increased decorativeness, appeal to the vocabulary of classical architecture and other traditions. Robert Stern and the “three approaches” of postmodernism. Ironic interpretation of the source, obsessive scenography – means of designing internal space. The problem of symbol in postmodern interior art. The influence of the principles of contextualism on the artistic practice of the interior. Double coding and kitsch as a phenomenon of the artistic life of postmodernism.

Topic 18.Interior at the borderXX- XXIcentury as part of world artistic culture. Reflection of philosophical concepts in interior art of the last quarter of the twentieth century. Leading masters. Leaders of the profession. Minimalism. Neo-expressionism. Uncontrolled irregularity of lines and shocking aesthetics in creativity. Hundertwasser. Deconstructivism: visual complexity and broken forms, a feature of the design method. Projects of R. Koolhaas: orientation towards the “anti-gravity” architecture of the Russian avant-garde. Neoplasticism: S. Calatrava. Anthology of interior “styles” of the 21st century: “loft”, “country”, “French village”, “English village”, “English style”, “British colonial style”, “Victorian style”, “Japanese style”, “flor market", "ethnic styles" (Moroccan, African, etc.), etc.

Intermediate form of control: V semester - test.

Final form of control: V Isemester–exam.

EDUCATIONAL AND METHODOLOGICAL MATERIALS

Main literature:

McCorquodale Ch. Decoration of residential interiors from antiquity to the present day. Per. from English E.A. Cantor. – M.: Svarog and K, 2006. – 248 p.

Matyunina D.S. History of the interior. – M.: Academic project, Paradigm, 2012. – 552 p.

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Soloviev N.K. History of modern interior. – M.: Svarog and K, 2004. – 399 p.

additional literature :

Adams S. The Arts and Crafts Movement. Guide to style. – M.: Raduga, 2000. – 128 p.

Atlas of world interior design / Ed. Brown M. and Galindo M. – Translated from English. – M.: Magma LLC, 2011. – 512 p.

Bartenev I.A., Batazhkova V.N. Russian interior of the 18th – 19th centuries. – M.: Svarog, 2000. – 128 p.

Borisova E.A. Russian architecture in the era of romanticism. – St. Petersburg: D.M. Bulanin, 1997. – 314 p.

Borisova E.A. Russian modern: architecture, painting, graphics / E. A. Borisova, G. Yu. Sternin. - M.: Galart, 1998. – 359 p.

Borisova E.A., Kazhdan T.P. Russian architecture of the late XIX – early XX centuries. – M.: Nauka, 1971. – 239 p.

Borisova E.A., Sternin G.Yu. Russian neoclassicism. – M.: Galart, 2002. – 288 p.

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Whipper B.R. Russian Baroque architecture. – M.: BSG-Press, 2008. – 298 p.

Vlasov V.G. Styles in art. Dictionary. T.I. – St. Petersburg: Kolna, 1995. – 672 p.

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Demidenko Yu.B. Interior in Russia. – St. Petersburg: Aurora, 2000. – 255 p.

Jenks Ch. The language of postmodern architecture./Trans. from English A.V. Ryabushina, M.V. Uvarova; edited by A.V. Ryabushina, V.L. Hayta. – M.: Stroyizdat, 1985. – 136 p.

Evangulova O.S. The artistic “universe” of a Russian estate. – M.: Progress-Tradition, 2003. – 304 p.

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Architects of St. Petersburg XIX - early XX centuries / Comp. V.G. Isachenko. – St. Petersburg: Lenizdat, 1998. – 1070 p.

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History of Russian architecture: Textbook for universities / Pilyavsky V.I., Slavina T.A., Tits A.A., Ushakov Yu.S., Zaushkevich G.V., Savelyev Yu.R. – 2nd ed., revised. and additional – St. Petersburg: Stroyizdat St. Petersburg, 1994. – 600 p.

Kazhdan T.P. The artistic world of a Russian estate. – M.: Tradition, 1997. – 319 p. Kalyazina N.V. Monumental and decorative painting in the palace interior of the 18th century. // Russian Baroque art. Materials and research / Ed. T.V. Alekseeva. – M.: Nauka, 1977. – P.55-69.

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Myshkovsky Ya.I. Housing from different eras: yesterday, today, tomorrow. – M.: Stroyizdat, 1975. – 125 p.

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Wright F.-L. The future of architecture. Per. from English and note. arch. A.F. Goldstein. – M.: Gosstroyizdat, 1960. – 247 p.

Russian interior. Epoch. Fashion. Style /Ed. A. Yasko, N. Mironova. – M.: Rudentsov Publishing House, 2011. – 444 p.

Ryabushin A.V. Architects of the turn of the millennium. – M.: Art – XXI century, 2005. – 287 p.

Sarabyanov D.V. Art Nouveau style: origins, problems, solutions / D. V. Sarabyanov. - M.: Art, 1989. – 294 p.

Sokolova T.M., Orlova K.A. Through the eyes of contemporaries. Russian residential interior of the 19th century. – L.: Artist of the RSFSR, 1982. – 183 p.

Strugova O. Furniture in Russian interiors of the late 19th – early 20th centuries. – M.: “Rudentsov Publishing House”, 2005. – 443 p.

Tydman L.V. Hut, house, palace: residential interior of Russia from 1700 to 1840s / L. V. Tydman; Ch. ex. protection of monuments in Moscow, Scientific research. Methodological Center for Heritage Protection, Scientific Research. Museum of Russian Architecture named after. A. V. Shchuseva. - M.: Progress-Tradition, 2000. – 334 p.

Decoration of a Russian residential interior of the 19th century. Based on materials from the exhibition at the Pavlovsk Palace Museum / Comp. and the author of the text A.M. Kuchumov. – L.: Artist of the RSFSR, 1977. – 302 p.

Far-Becker G. Art Nouveau / Trans. with him. – Konemann, 2004. – 425 p.

Fedorov-Davydov A.A. Russian art of industrial capitalism. – M., 1929. – 247 p.

Frampton H. Modern architecture. A critical look at the history of development / Trans. from English E.A. Dubchenko; Ed. V.L. Hayta. – M.: Stroyizdat, 1990. – 535 p.

Khan-Magomedov S.O. Architecture of the Soviet avant-garde. – M.: Stroyizdat, T.1. Formation problems. Masters and trends, 1996. –709 p. T.2. Social problems, 2001. – 712 p.

Hiller B., Eskrit S. Art Deco style / Trans. from English IN AND. Samoshkina. – M.: Art – XXI century, 2005. – 240 p.

Artistic decoration of the Russian interior of the 19th century / Ed. I. Ukhanova. – L.: Art. Leningrad branch, 1986. – 144 p.

Schober U. Castles and palaces of Europe. – M.: BMM, 2003. – 416 p.

Shuisky V.K. Mature Russian Baroque and early classicism. – St. Petersburg: White and Black, 1997. – 155 p.

Shutskaya G.K., Tregubova E.L. Old house on Varvarka. – M.: State Historical Museum, 2007. – 136 p.

Elements of style: Encyclopedia of architectural details: Trans. from English /Ch. ed. S. Calloway. – M.: Magma, 2003. – 568 p.

During practical (seminar) classes, students, together with the teacher, consider the proposed topics in more detail, on which it is proposed to prepare a number of reports in oral and written forms. The topic of the report can be chosen from the proposed list, but the topics can be varied at the discretion of the student. It may be caused by a shift in the focus of study, limitation or expansion of the group of monuments being studied, etc.

An indispensable condition for preparing the material is a selection of photographs on the topic, for which you should refer to the recommended electronic databases.

During the seminars, it is possible to visit museums in St. Petersburg, where historical interiors have been preserved, as well as temporary exhibitions that display project graphics or photographs of completed interiors.

Seminar classes allow the student to test their own knowledge on the main topics of the course. To control students' knowledge, within the framework of seminar classes, tests in written form are periodically conducted, as well as colloquiums (a list of sample test questions is attached).

Independent work is carried out individually, it is based on the study of research literature and extensive empirical material on the history of interior art. Independent work with architectural monuments of St. Petersburg is expected, in museums (the State Hermitage Museum, the State Museum of the History of St. Petersburg, etc.), as well as museum-reserves, where one should learn to compare monuments of a particular era known from literature and albums with the originals or presented in architectural reconstruction.

Consolidation of knowledge acquired in classroom classes occurs through independent study of educational and methodological materials in the discipline, preparation for tests and exams, as well as preparation of reports on the topics studied. The purpose of the reports is to consolidate the skills of describing monuments of interior art and conducting independent art historical analysis. The topic for the report can be chosen from those proposed, but you can be independent. It is important that the student’s work corresponds to the chronological period of the sections being studied. During the test or exam, additional questions are possible on the topic of the report.

b) sample topics for preparing reports:

Features of interior decoration of buildings of the New Kingdom (XVI – XI centuries BC).

Furniture in Egyptian interior.

Megaron as a type of dwelling.

Problems of architectural reconstructions of ancient monuments (G. Schliemann, A. J. Evans, etc.).

Protomosaics of Ancient Greece.

The phenomenon of Hellenism and concern for the decoration of everyday life.

Furniture forms in a Roman house.

Roman caisson as a type of decoration for vaulted ceilings.

Byzantine influences in the decoration of European palaces.

Medieval painting and book miniatures as a source base for the history of interior design.

Terem Palace of the Moscow Kremlin: new features in the compositional scheme.

Similarities in the decorative decoration of the stone chambers of Ancient Rus' and castle buildings in Europe.

Renaissance interior: the influence of “theories about beauty.”

Monumental and decorative painting in the interior of the Italian Renaissance.

Order as a decorative system in Renaissance interior decoration.

Stanzas and Loggias of Raphael in the Vatican. The “grotesque” ornamental system in the interior composition.

Scenographic approach to the design of Baroque interiors.

Sculptural decor in the interior of Venice in the 17th – early 18th centuries.

Techniques for displaying collections of paintings in the interior of the 18th century.

Stylistic features of the interior of Peter's Petersburg (A. Schlüter, I. Braunstein, J.-B. Leblon, N. Michetti, I. Schedel, F. Fontana, etc.).

Charles Bull: new technology in interior decoration.

"Tile interiors" in Europe and Russia.

"Rastrelli style" in interior decoration.

Planning structure of city hotels in France during the Rococo era.

Roman antiquity as thematic and content-based basis for decorative decoration of an Empire style interior.

The cult of memory in the art of the 19th century and its reflection in the art of residential interiors.

“Egyptomania” in interior decoration.

Romantic fascination with the European Middle Ages in Russian palace interiors of the late 18th – early 19th centuries.

The concept of a living room as a definition of the multifunctionality of space.

Artistic problems of the interior of apartments in tenement buildings.

Stylish fusion of the Biedermeier style interior. The main advantages of the “lifestyle”.

The phenomenon of “recreation” of styles in interior art.

Eclecticism as a creative method of interior design.

“Neostili” in the palace interior of the 19th century.

Concepts of interior design in the works of modern architects (to choose from: A. Van de Velde, V. Orta, A. Gaudi, G. Guimard, O. Wagner, C. R. Mackintosh, J.-M. Olbrich, J. Hoffmann, F.O. Shekhtel, R.F. Meltzer, etc.).

The phenomenon of “northern” modernism in interior art (to choose from: P. Behrens, E. Saarinen, A. A. Ol, N. V. Vasiliev, A. F. Bubyr, etc.)

The theory of “organic architecture” and “prairie houses” by F.-L. Wright.

Creative practice of the De Stijl group in the field of interior design.

V. Gropius. Design of internal space.

Spatial Suprematism. Architects by K. Malevich, PROUNS by E. Lissitzky.

Experiments by Konstantin Melnikov (his own home and workshop, clubs).

Interiors of the Art Deco style (masters to choose from: J.-E. Ruhlmann, P. Chareau, Jo-Bourgeois, Sauvage and Vibeau, W. van Alen, etc.)

Maxima L. Mies van der Rohe: “Less is more.”

The unity of architecture and design according to Le Corbusier. “A house is a machine for living.” Modulor.

Strengthening neoclassical trends in interior design in the 1930s.

B. Goff's performance houses as a form of pop art.

Features of the “Scandinavian style” interior (masters to choose from: A. Aalto and E. Saarinen (Finland), A. Jacobsen (Denmark), Neil (Norway), Fabricius and Kastholm (Sweden), etc.).

"Italian style" of interior design.

The original creative style of the interior designer (masters to choose from: B. Baldwin, D. Colombo, E. Ponzo, E. Sotsas, M. Bellini, R. Tallon, A. Lesêtre, E. Albert, G. Aulenti, G.T. Paolini, F. Eichler, D. Nelson, S. Tomerlin Lee, G. Pesce, F. Stark, etc.).

“High-tech” and “minimalism” in the interior (masters to choose from: L. Kahn, R. B Fuller, C. Eames, R. Rogers, R. Piano, N. Foster, D. Stirling, etc.)

Artistic practice of postmodernism (to choose from: F. Johnson, R. Venturi, R. Stern, C. Jenks, C. Moore, R. Meyer, etc.).

The phenomenon of “quotes” in interior art of the late 20th – 21st centuries.

“Neo-expressionism” by F. Hundertwasser.

Deconstructivism in interior art of the 80-90s. (to choose from: P. Eisenman, KOOP Himmelblau group, B. Tschumi, F. Gehry, E. O. Moss, etc.)

c) a list of questions for testing (Vsemester):

Interior as a phenomenon of artistic culture.

Palaces, city estates and houses of Ancient Egypt. Features of decorative decoration techniques.

Decorative dominants in the interiors of palace complexes in Mesopotamia.

Interiors of the “labyrinths” of the island of Crete. Features of volumetric-spatial construction of internal space.

Dwellings of Ancient Greece. Types of layouts. Decoration of an ancient Greek house.

Types of residential buildings in Roman architecture and principles of their design.

"Pompeian Styles". Their role in the interior.

Great Palace of Constantinople. Features of interior decor.

Decorative dominants in Gothic interiors.

Mansion buildings. Stone chambers of Rus'. Compositional features and original decoration techniques.

Florentine palazzo as a new type of urban residence. Planning structure and decoration features.

Baroque interior. Volume-spatial solutions.

"Grand Style" of Louis XIV. Versailles apartments.

Rococo palaces. Artistic interior design.

Interiors in the Chinoiserie style.

d) list of questions for the exam (VIsemester):

Palladianism as an artistic movement in the interior art of the 17th-18th centuries. "Adam style" and "Gabriel style".

Manor interior in Russia at the end of the 18th – beginning of the 19th century.

Empire style in Napoleon's residences. C. Percier and P. Fontaine.

Romantic trends in interiors of the late 18th – early 19th centuries. D. Nesh, A. Menelas.

Eclecticism as a creative method in the interior art of the 19th century.

Interiors in the Winter Palace after 1837.

The era of historicism. Buckingham and Grand Kremlin palaces. State interiors.

Arts and Crafts Movement. Creative practice of W. Morris.

Search for modern style in the creative practice of interior art.

Mansions at the turn of the 19th – 20th centuries. The inside-out design principle.

Art Nouveau style interior. New ornamental concept

National romanticism and neoclassicism in the interior art of the early 20th century.

Modernism of the first half of the 20th century. A new approach to interior design.

The theory of “organic architecture” F.-L. Wright. "Interior concept" of prairie houses.

Spatial Suprematism. Architects. PROUNS.

Creative practices of the “Style” group in the field of interior design.

Experimental houses of the Soviet avant-garde - “housing complexes”.

The problem of housing standardization.

"International style" interior.

Decorative aspect in the interior of the 1920-30s.

Neoclassicism.

Post-war rationalism.

1. Minimalism.

   Interior of the postmodern era: the aspect of decorativeness.

   Kitsch in interior art.

   Neoplasticism.

   Deconstructivism in interior art.

   Interior at the turn of the XX-XXI centuries. Leaders of the profession.

« HISTORY OF FOREIGN ARTXIX- XXVV."

TOPICS FOR THE EXAM