By Π£ΡΠΏΠ΅Π½ΡΠΊΠΈΠΉ Π.Π.
Π£ΡΠΏΠ΅Π½ΡΠΊΠΈΠΉ Π.Π., 2024, Π‘Π΅ΡΠΈΡ: ΠΡΠΊΡΡΡΡΠ²ΠΎ_VED
ΠΠ½ΠΈΠ³Π° ΠΈΡΠΊΡΡΡΡΠ²ΠΎΠ²Π΅Π΄Π° ΠΠ½ΡΠΎΠ½Π° Π£ΡΠΏΠ΅Π½ΡΠΊΠΎΠ³ΠΎ ΠΏΠΎΡΠ²ΡΡΠ΅Π½Π° ΡΠΎΠ²Π΅ΡΡΠΊΠΎΠΌΡ ΠΈΡΠΊΡΡΡΡΠ²Ρ 1920β1930-Ρ Π³ΠΎΠ΄ΠΎΠ², ΠΊΠΎΡΠΎΡΠΎΠ΅ ΠΎΠΊΠ°Π·Π°Π»ΠΎΡΡ Π²Π½Π΅ ΠΏΠΎΠ»Ρ ΠΎΠ±ΡΠ΅ΡΡΠ²Π΅Π½Π½ΠΎΠ³ΠΎ ΡΠΏΡΠΎΡΠ° ΠΈ Π±ΡΠ»ΠΎ Π½Π°Π΄ΠΎΠ»Π³ΠΎ Π·Π°Π±ΡΡΠΎ. Π₯ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠΈ, ΡΡΠΈ ΡΠ°Π±ΠΎΡΡ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½Ρ Π² ΠΈΠ·Π΄Π°Π½ΠΈΠΈ, Π±ΡΠ»ΠΈ ΡΠΎΡΡΠ΅Π΄ΠΎΡΠΎΡΠ΅Π½Ρ Π½Π° ΡΠ΅ΡΠ΅Π½ΠΈΠΈ ΠΏΠ»Π°ΡΡΠΈΡΠ΅ΡΠΊΠΈΡ ΠΈ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠ½ΡΡ Π·Π°Π΄Π°Ρ. ΠΡ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²ΠΎ, Π½Π°Π·Π²Π°Π½Π½ΠΎΠ΅ Π°Π²ΡΠΎΡΠΎΠΌ Β«Π½Π΅ΠΏΠΎΠ»ΡΡΠ½ΡΠΌΒ», Π½Π΅ ΡΠΎΠΎΡΠ²Π΅ΡΡΡΠ²ΠΎΠ²Π°Π»ΠΎ Π½ΠΈ Π°Π²Π°Π½Π³Π°ΡΠ΄Ρ, Π½ΠΈ ΡΠΎΡΡΠ΅Π°Π»ΠΈΠ·ΠΌΡ. ΠΠ²ΡΠΎΡ Π²ΠΎΡΡΡΠ°Π½Π°Π²Π»ΠΈΠ²Π°Π΅Ρ ΡΡΠΎΡ Π²Π°ΠΆΠ½ΡΠΉ ΠΏΠ΅ΡΠΈΠΎΠ΄ Π² ΠΈΡΡΠΎΡΠΈΠΈ ΠΎΡΠ΅ΡΠ΅ΡΡΠ²Π΅Π½Π½ΠΎΠ³ΠΎ ΠΈΡΠΊΡΡΡΡΠ²Π°, Π²ΠΎΠ·Π²ΡΠ°ΡΠ°Ρ ΡΠΈΡΠ°ΡΠ΅Π»ΡΠΌ Π½Π΅Π·Π°ΡΠ»ΡΠΆΠ΅Π½Π½ΠΎ Π·Π°Π±ΡΡΡΠ΅ ΠΈΠΌΠ΅Π½Π° ΠΈ Π΄Π΅ΠΌΠΎΠ½ΡΡΡΠΈΡΡΡ ΡΠ΅Π΄ΠΊΠΈΠ΅ ΡΠ°Π±ΠΎΡΡ.
A.M. Uspensky, 2024, Series: ΠΡΠΊΡΡΡΡΠ²ΠΎ_VED
This book by art historian Anton Uspensky delves into Soviet art from the 1920s and 1930s, a period that was largely overlooked due to its lack of social demand. The artists featured, diverse in style and preference, were united by their focus on purely plastic and painterly challenges. Their art, termed "non-polar" by the author, did not fit within the dominant movements of avant-garde or socialist realism. Uspensky's work aims to restore this stylistic link in pre-war Russian art history, reintroducing forgotten artists and showcasing rare works to a wider audience.