By ΠΠ°ΠΊΠ°Ρ Π
Π. ΠΠ°ΠΊΠ°Ρ, 2022, Π‘Π΅ΡΠΈΡ: ΠΡΠ΅ΡΠΊΠΈ Π²ΠΈΠ·ΡΠ°Π»ΡΠ½ΠΎΡΡΠΈ
ΠΠ½ΠΈΠ³Π° ΠΡΠΈΠ½Ρ ΠΠ°ΠΊΠ°Ρ ΠΏΠΎΡΠ²ΡΡΠ΅Π½Π° ΠΊΠ»ΡΡΠ΅Π²ΡΠΌ ΡΠΈΠ³ΡΡΠ°ΠΌ ΠΈ Π½Π°ΠΏΡΠ°Π²Π»Π΅Π½ΠΈΡΠΌ ΡΡΡΡΠΊΠΎΠ³ΠΎ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠ½ΠΎΠ³ΠΎ Π°Π²Π°Π½Π³Π°ΡΠ΄Π°. ΠΡΡΠ»Π΅Π΄ΡΡΡΡΡ ΡΠ°ΠΊΠΈΠ΅ Π²ΠΎΠΏΡΠΎΡΡ, ΠΊΠ°ΠΊ ΡΡΡΠ΅ΡΡΠ²ΠΎΠ²Π°Π½ΠΈΠ΅ Β«ΡΡΡΡΠΊΠΎΠ³ΠΎ ΡΠ΅Π·Π°Π½Π½ΠΈΠ·ΠΌΠ°Β», Π²Π»ΠΈΡΠ½ΠΈΠ΅ ΠΈΠΌΠΏΡΠ΅ΡΡΠΈΠΎΠ½ΠΈΠ·ΠΌΠ° Π½Π° Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠΎΠ² Π°Π²Π°Π½Π³Π°ΡΠ΄Π°, ΡΡ ΠΎΠ΄ΡΡΠ²Π° Π² ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π΅ ΠΠ°ΡΠΈΠΎΠ½ΠΎΠ²Π°, ΠΠ°Π»Π΅Π²ΠΈΡΠ°, Π’Π°ΡΠ»ΠΈΠ½Π° ΠΈ ΠΠΈΠΊΠ°ΡΡΠΎ. ΠΠ½Π°Π»ΠΈΠ·ΠΈΡΡΠ΅ΡΡΡ Π½Π΅ΠΈΠ·Π±Π΅ΠΆΠ½ΠΎΡΡΡ Π±Π΅ΡΠΏΡΠ΅Π΄ΠΌΠ΅ΡΠ½ΠΎΡΡΠΈ ΠΊΠ°ΠΊ ΡΡΠ°ΠΏΠ° Π² ΡΡΡΡΠΊΠΎΠΌ ΠΈΡΠΊΡΡΡΡΠ²Π΅ ΠΈ ΡΠ°Π·Π»ΠΈΡΠΈΡ Π² ΠΌΠΈΡΠΎΠ²ΠΎΠ·Π·ΡΠ΅Π½ΠΈΠΈ ΠΌΠΎΠ΄Π΅ΡΠ½ΠΈΡΡΠΎΠ² ΠΈ Π°Π²Π°Π½Π³Π°ΡΠ΄ΠΈΡΡΠΎΠ². Π Π°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°Π΅ΡΡΡ ΡΠ°ΠΊΠΆΠ΅ Π΄Π΅ΡΡΠ΅Π»ΡΠ½ΠΎΡΡΡ Π°Π²Π°Π½Π³Π°ΡΠ΄Π° Π² ΠΏΠ΅ΡΠΈΠΎΠ΄, ΠΊΠΎΠ³Π΄Π° Π΅Π³ΠΎ ΠΎΡΠ½ΠΎΠ²Π½ΡΠ΅ Π±ΠΈΡΠ²Ρ ΡΠΆΠ΅ Π±ΡΠ»ΠΈ ΠΏΡΠΎΠΉΠ΄Π΅Π½Ρ.
I. Vakar, 2022, Series: Visual Essays
This book by Irina Vakar focuses on significant figures and major movements within Russian avant-garde painting. It delves into questions such as the existence of "Russian Cezannism," the role of Impressionism in the early and late careers of avant-garde artists, and the parallels between the work of Larionov, Malevich, Tatlin, and Picasso. The text examines why abstraction was an inevitable stage in Russian art and explores the differing consciousness and life priorities of modernists and avant-gardists, using examples like Benois and Malevich. It also addresses what the avant-garde was doing after its primary battles had been fought.