«TRANSACTIONS OF THE STATE HERMITAGE ТРУДЫ ГОСУДАРСТВЕННОГО ЭРМИТАЖА XL XL THE CULTURE AND ART КУЛЬТУРА И ...»
Во дворце великого князя Владимира Александровича рядом с вазами, изготовлен- ГЭ Государственный Эрмитаж ными на Императорском фарфоровом заводе в технике подглазурной росписи, с гла ИРИ РАН Институт русской истории Российской академии наук зурями и лепным декором, располагались первоклассные произведения Севра, Берлин ИРЛИ Институт русской литературы (Пушкинский дом) ской королевской мануфактуры, частных заводов Германии. Они прекрасно дополняли облик парадных залов и жилых комнат Владимирского дворца на рубеже XIX–XX вв., ИФЗ Императорский фарфоровый завод иногда соседствуя с образцами фарфора эпохи историзма, а порой заменяя их. В даль НИМ РАХ Научно-исследовательский музей Российской академии художеств нейшем коллекция пополнялась уже произведениями советских мастеров.
ОМФ Отдел Музей фарфора РАХ Российская академия художеств Кудрявцева Т. В. Императорский фарфоровый Одновременно с вазой Тимуса через Конто 1 РГВИА Российский государственный военно-исторический архив завод. СПб., 2003. С. 258. (Далее – Кудрявцева ру двора его императорского высочества ве РГИА Российский государственный исторический архив, Санкт-Петербург Т. В. 2003.) ликого князя Владимира Александровича на Посещение Государыней Императрицей заводе были заказаны шесть терракотовых РНБ Российская национальная библиотека Императорского фарфорового завода // бюстов великих князей Кирилла и Бориса ФАР Фонд архитектурной гравюры Ведомости Санкт-Петербургского градона- Владимировичей с предоставленных их вы чальства. 1901. 1 ноября. № 251. C. 8. сочествами оригиналов. ЦВЗ «Манеж» Центральный выставочный зал «Манеж»
Кудрявцева Т. В. 2003. С. 255.
В настоящее время эта ваза с изображением ЦВМА Центральный военно-морской архив Кудрявцева Т. В. Новые принципы декориров куниц находится в собрании ГМЗ «Петер ки изделий Императорского фарфорового ЦВММ Центральный военно-морской музей гоф». Ее фотография опубликована в статье завода периода модерна // ТГЭ. Л., 1983.
Т. Н. Носович «О творческих связях Импе- ЦГИА СПб Центральный государственный исторический архив [Вып.] XXIII. С. 135.
раторского фарфорового завода и датской Санкт-Петербурга Толстой И. И. Мемуары. М., 2004. С. 33.
королевской мануфактуры» (Петергоф. Из Русский художественный фарфор // Сб. ст.
истории дворцов и коллекций: Альманах.
о Гос. фарфоровом заводе / Под ред. Э. Ф. Гол СПб., 1992. С. 142).
лербаха и М. В. Фармаковского. Л., 1924. С. 55.
Дворец великого князя Владимира Алексан Эта ваза Зимина находится в собрании фар дровича // Биржевая газета. 1892. 14 дек.
фора Государственного Эрмитажа, в отделе № 345. С. 2.
Музей Фарфорового завода.
Стиль и эпоха в декоративном искусстве Кудрявцева Т. В. Императорский фарфоровый 1820–1890-х гг. Гос. Эрмитаж: Кат. выст. СПб., завод // Декоративно-прикладное искусство Санкт-Петербурга. СПб., 2004. Т. 1. С. 257. 1996. С. 262.
SUMMARIES SUMMARIES Of the masters active in St. Petersburg in the eighteenth century, the most noticeable are the organ master Johann-Gottlieb Gabran and the watchmaker Johann-Georg Strasser.
The latter’s chief work is the “Mechanical Orchestra” or the Greater Strasser, the outstanding example of Russian mechanics now preserved in the Hermitage.
In the nineteenth century, the latter’s ancestors, the watchmakers, brothers Schrzinger were known for their outstanding achievements in this eld, as well as the Winterhalter watchmaker family. For a long time, Imperial palaces and metropolitan nobility’s mansions had musical machines created and repaired by members of the two families.
Later on, the production of Russian musical machines continued, with new technologies used I. Barinova by new talented mechanics. At the end of the nineteenth century, pianola, trifonola, and velte mignola were created. Those were small machines, simple and inexpensive in production.
PETER THE GREAT’S SUMMER PALACE IN THE SUMMER GARDENS (‘SHIP DWELLING’) I. Garmanov Peter the Great’s rst stone Summer Palace (1710–1715) imitating the type-design buildings WORKS BY CARLO ROSSI, AUGUSTE MONTFERRAND of Paris served as a model for the state palaces of St. Petersburg. The building was designed AND ALEXANDER BRYULLOV IN THE WINTER PALACE according to the canons of Classical Antiquity, the architectural scheme being based on the BEFORE THE FIRE OF square and its diagonal, and the derivatives of the two.
The idea of the reconstruction of the palace (1716–1720s) belonged to Peter the Great. Stylistic Evolution of Furniture The ‘ship-dwelling’ was to reect the tsar’s notion of St. Petersburg, as an ‘ark city’ inhabited by citizens of different ethnicities and confessions.
Between 1810 and the 1830s, Historicism replaced Classicism in the art of furniture making.
The palace design combines the elements of the French eighteenth-century Classicist htel This gradual and very complicated process has reected itself in the furniture of the Winter and those of ship architecture, with an inner corridor as a novel architectural element.
Palace, more particularly, those of the ceremonial interiors which, before the re of Unlike French buildings with the well-dened functions of each oor and the corridor along had been created by the outstanding court architects Carlo Rossi, Auguste Montferrand and the living quarters only, in the Summer Palace all the oors have one and the same design, with Alexander Bryllov. In the paper, the history of furniture sets has been traced, in combination the living quarters and the service part making up one and the same ‘life-support’ block (similar with the analysis of their architectural context, as well as materials and construction of to the ‘admiral block’ in the stern part of the ship), combining apartments and suites. In this way, individual pieces, and the stylistic evolution of these.
the Tsar’s House was a ceremonial palace and at the same time a comfortable home.
At different periods, the construction works were supervised by Domenico Trezzini, Andreas Schlter (1716–1719, during the reconstruction stage) and Jean-Baptiste Leblond.
The workers used at the construction could be the ship builders of different professions, A. Pobedinskaya employed by the Admiralty.
ALEXANDER I’S CAMP CHAPEL At the end of March 1812, when Napolen’s Grand Arme was near the Russian border, Alexander I decided to join the Headquarters of the Russian Army, where Barclay de Tolly’s I. Sychev 1st Army of 127,000 men was located.
RUSSIAN “MECHANICAL-MUSIC” MASTERS After the service in the Cathedral of Our Lady of Kazan, St. Petersburg, on 9 April, he left IN THE LATE 18TH AND THE 19TH CENTURIES for Vilna. With him, he had his camp chapel, which was in the tradition of Russian tsars from the ancient times.
Musical machines were known in Russia from the seventeenth century. At the turn of the The chapel consecrated to St. Alexander Nevsky venerated in Russia was with Alexander I eighteenth century, mechanical clocks, organs and other musical rarities became especially during the 1812 Campaign and the Western European Campaigns of 1814–1812.
popular in St. Petersburg and Moscow. The newspapers of the capital were advertising the In March 1814, the Allies were near Paris. On 19 March, Napoleon capitulated and selling and lotteries of these. The designing and production of Russian musical machines were the Allies headed by Alexander I, Frederick William III of Prussia and Field-Marshal progressing rapidly. K. F. Schwarzenberg entered the capital.
398 SUMMARIES SUMMARIES On 29 March 1814, the Day of Russian Orthodox Easter, a service was held on the largest aspects, so that children, by playing games, could familiarize themselves with statistical and square of Paris in front of the camp altar, with Alexander I and the ally troops present. political description of our dear Fatherland”.
After the war, Alexander I’s camp chapel returned to Vilna and placed in the courtyard of Informative and exquisitely tasteful, Gribanov’s cards belong to the highest achievements the Governor’s house. In 1816, the emperor had a new iconostasis commissioned from the of applied arts.
well-known Russian painter V.K. Shebuyev. At present, the iconostasis by Shebuyev is in the General Headquarters in St. Petersburg.
I. Kotelnikova THE HISTORY OF ATTRIBUTION OF OREST KIPRENSKY’S PORTRAIT OF A WOMAN IN THE HERMITAGE COLLECTION V. Fedorova The article is concerned with the many years’ history of identication of Zinaida ANASTASY ANTONOVICH YURKOVSKY, Volkonskaya depicted in a small painting which the Department of Russian Culture received THE HERO OF THE 1812 CAMPAIGN in 1960 from the Purchasing Committee as a work by an unknown painter.
(on the basis of unpublished materials) The analysis of the style of the portrait and a comparative study of the facial features of the sitter, as well as archival and published materials suggest that Kiprensky knew Zinaida On 27 December 1974, papers (31 items) were acquired through the Hermitage Purchasing Volkonskaya and was in contact with her in Rome in the 1830s when the Hermitage painting Committee, related to the life and career of General Anastasy Antonovich Yurkovsky was produced.
(1754–1830), participant in the 1812 Campaign (Napoleonic Wars). One of the reasons of the friendship of Volkonskaya and Kipresky may have been some Chronologically, the documents cover the period of 1791 – 1836 which includes the reigns similar facts of their biographies, viz. Volkonskaya’s conversion into Catholicism vis--vis her of Catherine the Great, Alexander I and Nicholas I. The list of battles, in which Yurkovsky profound love of Russia and Kipresky’s conversion in order to marry the young Mariucci.
distinguished himself during the fty-three years of service is the best illustration of his It is possible, in this context, that Zinaida Volkonskaya who was a kind and a compassionate achievements. He started his career as a Hussar sergeant-major, becoming Major-General person gave a moral support to the artist during the crisis that followed a period of hopeful and patron of the Elizabethgradsky Hussar regiment 35 years later. Yurkovsky belonged expectations.
to Hungarian Greek-Orthodox nobility;
he was uent in Russian, Hungarian, German The article contains the results of a scientic examination carried out by A.S. Kosolapov of and Greek. He had several awards for valour, including the highest orders of the Russian the State Hermitage and S.V. Rimskaya-Korsakova of the State Russian Museum.
Empire, golden arms and medals. His name is on the memorial plaques of the Cathedral of Christ the Saviour in Moscow and the War Gallery of the Winter Palace (the Hermitage Museum).
Yu. Gudymenko RAPHAEL AND MICHELANGELO AND THE RUSSIAN ARTISTS G. Mirolybova and S. Plotnikov OF THE FIRST HALF OF THE 19TH CENTURY Essays on the “Content of Form” in Romanticism Painting PLAYING CARDS FOR THE YOUNG BY K. GRIBANOV The paper consists of three essays on one and the same theme, namely, the inuence of The archival materials available reveal the history of the three sets of didactic playing Raphael and Michelangelo on the Russian romantics. The two Italian masters were among the cards, called “Geographical Cards for the Young”, created by K. M. Gribanov in the 1820s most popular artists in Russia in the rst half of the nineteenth century. In the 1820s–1830s, or early 1830s. In addition to the marks (suits and ranks), the cards have depictions of maps, Russian painters relying on the Academy traditions studied their principles of composition and emblems and traditional costumes of the Provinces of Russia, the Kingdom of Poland, drawing. Besides letters, diaries and memoirs, this interest is reected in the works produced and the Grand Duchy of Finland. The nature of depictions and their inventory reect at the time. Hence, the analysis of works by Russian romantic artists, which is central to the a mnemonic teaching system popular in the early nineteenth century. The same principle present paper.
was used in the Book of Uniforms and Other Appurtenances of Each of the Guard Regiments, The rst essay is concerned with the inuence of Raphael’s Entombment and Scourging of in Illuminated Drawings by Gribanov (1841).Each card, characterized by elegance and Heliodorus on works by Karl Bryullov, Fedor Bruni, and Alexander Ivanov. Depicturing the workmanship contained information useful for future ofcers. In the 1850s, Gribanov made The Book of Geographical Maps which, according to him, was to combine “amusing and useful crowd in their historical paintings, the three artists were facing the problem of creating distinct 400 SUMMARIES SUMMARIES groups of people, which at the same time were connected with one another. The pattern did St. Petersburg. At the beginning of the nineteenth century, the Seryakovs came to St. Petersburg from the Province of Kostroma in order to open a hardware shop. They settled in Apraksin not t in the composition of the frieze type based on a triangle or a continuous waving line.
Lane which was then one of the trade centres in St. Petersburg. The children were to continue Therefore in this case the artists used Raphael’s horizontal S-shaped composition, as most the family business. But one of the sons of Pamphil Seryakov, Yakov chose wood-, plaster-, functional and meaningful in depicting the crowd.
and bone-carving instead. As a result of hard work devoted to the study of carving, which The second essay deals with The Virgin and Child by Fedor Bruni. The analysis of its form he was doing on his own, he made himself a name in miniature sculpture, predominantly and meaning suggests that the work was at the source of the mid-nineteenth-century “Neo portraiture.
Ecclesiastical Style” known as “Byzantinism” and that it was inuenced by Raphael’s Virgin Among his sitters were both common citizens and emperors. In 1862, The Russian Art Bulletin and Michelangelo’s Bruges Madonna.
observed that in his portraits the young carver was able to achieve an amazing likeness and In the third essay, it is suggested that Orest Kiprensky was familiar with The Sybil of Delphi elegance. The works, mostly miniature portraits were both in low-relief and three-dimensional.
by Michelangelo in the Sistine Chapel, and that this work inuenced the composition of Once Yakov Seryakov made an attempt to enter the Academy of Arts in St. Petersburg, but Kiprensky’s Portrait of Pushkin (1827).
failed. This did not put an end to his achievements, however, as one can judge by his extant works, most diverse in nature, which can be come across at art sales and are preserved in A. Solovyov a number of museums, both in and outside Russia. Undoubtedly, the Hermitage collection of works by Seryakov is the richest nowadays. Besides the sixteen portraits by him, which had ON SOME DRAWINGS IN THE SKETCHBOOK been in the museum before 2005, twenty portraits were acquired in that year from the former OF MORITZ ROSENBERG collection of the Romm family of Leningrad (now St. Petersburg).
Of the earliest portraits are those of the merchants M.L. and A.V. Kruglov, dated 1844.
The article develops some of the issues of Galina Komelova’s work, “The Sketchbook of The bust of A.M. Gedeonov, director of St. Petersburg and Moscow theatres was produced Moritz Rosenberg” (Transactions of the State Hermitage, XVIII, 1960) devoted to one of the most in the following decade. It should be noted that the period of the 1850s–60s was especially remarkable items preserved in the division of drawings and water-colours of the Hermitage fruitful in Seryakov’s career. He made portraits both on commission and for sale. According to Department of the History of Russian Culture. The Northern Bee (St. Petersburg), the most appropriate place to learn about Seryakov is Tamm’s The sketchbook with many drawings by Russian and Western European artists belonged Shop;
besides, his works were constantly on display in the windows of K.A. Polyakov’s Shop to Dr. Moritz Rosenberg (1819–1901), who was friends with many Russian artists working on Nevsky. Due to insufciency of archival data, his biography lacks details;
even the date of in Italy in the 1830s–40s. Besides works by the stipendiaries of the Academy of Arts, his death is unknown. He was born in 1818 and one of his last productions is dated to 1868, N. A. Ramazanov, M. I. Lebedev, V. Ye. Rayev and others, the sketchbook has drawings by such which does not necessarily imply the end of his career. The oeuvre of Yakov Seryakov, the masters as O. A. Kiprensky, G. G. Gagarin, P. V. Basin, Thomas de Tomon, and Victor Hugo. ‘master of portraiture” as his contemporaries would call him, is considerable, as well as his The sketchbook with the rst drawing dated to 1846 must have been given to Rosenberg contribution to visual arts and Russian culture generally.
by his friend, architect Nicholas Benois. It is his drawings, as well as those by his friends, V. I. Sternberg and A. K. Rossi, the young stipendiaries of the Academy of Arts, who died in Italy that are the central topic of the present paper.
Of interest is the drawing called Concert ascribed to the engraver G. I. Skorodumov. M. Evtusheko The attribution is the result of comparison of it with the Tretyakov Gallery version of the FEDOR SOLNTSEV, THE BEARER OF RUSSIAN same composition and Skorodumov’s other works. On the basis of this comparison, it is possible to conclude that the composition incorporates a previously unknown self-portrait. ICON-PAINTING TRADITIONS The drawing in the sketchbook is an important addition to the oeuvre of the outstanding Russian engraver. The article is concerned with some less familiar aspects of Russian history, viz. the mid nineteen-century reforms of icon-painting and the strengthening of Orthodoxy in the western provinces of the Russian Empire after the 1830–31 Polish uprising.
I. Ukhanova The Academician of History Painting, Fedor Solntsev took part in the creation of over 200 iconostases for the Orthodox churches in the territories Russia annexed after the three THE MASTER OF MINIATURE PORTRAIT YAKOV SERYAKOV divisions of Poland. Besides, he was the author of the illustrations in The Old Russian Monuments in the Western Provinces of the Empire by P.N. Batyushkov (1860–1870s).
Russian provincial towns were always the capital’s source of talented and energetic people.
The article is based on the archival materials of the Ofce of the Holy Synod (F.796) and In the nineteenth century, many of them would come to St. Petersburg to start an enterprise, the Western Committee of the Russian National History Archive (F.1267).
study or become involved in arts or trade. At the time, life was dynamic in all its spheres in 402 SUMMARIES SUMMARIES A. Strelnikov E. Moiseenko SOURCE-MATERIALS ON THE HISTORY OF THE FINNISH UNITS GOLD-EMBROIDERED KERCHIEFS AND SCARVES OF THE GREAT DUCHY OF FINLAND IN THE COLLECTION IN THE COLLECTION OF THE HERMITAGE DEPARTMENT OF THE STATE HERMITAGE OF RUSSIAN CULTURE The theme of the Finnish units as an integral component of the Army of the Russian The collection preserved in the Hermitage Department of Russian Culture includes ninety Empire during the greater part of the nineteenth century is connected with the formation and kerchiefs and scarves that make up one of the most important museum complexes. They subsequent history of ethnic units generally. At different periods, the Russian Army included belong to different production centres and can be localized and dated on the basis of written other ethnic formations as well, such as the Lithuanian Corps formed in 1817, Armed Forces sources and the kind of embroidery typical of each of these.
of the Kingdom of Poland that opposed the governmental troops during the 1830–31 uprising, The Hermitage collection demonstrates the main types of kerchiefs and scarves from the and the Transcaucasian Armed Forces. late eighteenth to the early twentieth centuries, as well as the features and techniques typical The Hermitage collection of the Department of Russian Culture has unique materials on of the productions of central Russia including Nizhny Novgorod, and those of Yaroslavl, the history of some of the Finnish units. These are, rst and foremost, items of the collection Toropets, Kargopol and Pskov. The results of this analysis of the Hermitage collection of of uniforms, drawings and banners. Some of these, besides their historical signicance are of kerchiefs and scarves can be used in the attribution of similar productions in other museums a memorial value, e.g. the personal belongings of Alexander II, who was the patron of the and private collections.
Life-Guard Finnish Rie Battalion.
The central topic of the article is the banners of the Finnish units in the collection, e.g.
the standard of the Finnish Dragoon Regiment and the banner of the Finnish Trainee Rie Battalion, both in an excellent state of preservation. The banner is the last of the 1813 reward G. Printseva banners in the Russian Army.
The depictions of uniforms are an important source on the history of the equipment THE PANORAMA OF LONDON DURING THE CELEBRATION of the Finnish units in the nineteenth century. The banners are primarily represented in OF THE SIXTIETH ANNIVERSARY OF QUEEN VICTORIA’S the model depictions of the Quartermaster Corps, now preserved in the collection of REIGN BY PAVEL PYASETSKY banner drawings of the Hermitage Department of Russian Culture. The depictions in question show the banners of the Finnish units, the standard of the Finnish Dragoon The Hermitage views by Pavel Pyasetsky (1843–1921) are kind of artistic and geographical Regiment established in 1889 and the corner of the St. George Banner of the Life-Guard chronicles of Russia and other countries at the end of the nineteenth century, as well as Rie Battalion.
the depiction of the Court and public events. One of the longest (127 meters) and most interesting panoramas by him is devoted to the ‘diamond jubilee’ of the reign of Queen Victoria on 10 June 1897. At the celebration in London, Russia was represented by Grand Duke Sergey Alexaandrovich, his wife, Grand Duchess Elizabeth Fedorovna and their N. Tarasova retinue.
THE “ARABS OF THE HIGHEST COURT” AT THE RUSSIAN EMPERORS’ Pyasetsky arrived in England on 7 or 8 June 1897 with the Russia battleship that SERVICE IN THE LATE NINETEENTH AND THE EARLY participated in the navy parade. The panorama begins with the depiction of the seascape TWENTIETH CENTURIES near Portsmouth and the deck of the battleship by night. Then follow the Royal residences and landscapes on the way from Portsmouth, the excellent depictions of the streets of London decorated for the event, the ensembles in the centre of the capital and the interiors The contemporaries were always amazed at the luxury of the Russian Imperial Court.
of the Buckingham Palace. Besides sketches done on site, Pyasetsky used other materials, Of importance for the image of the Court were the liveries of its servants, e.g. valets de such as photos in the World Illustration, which became an integral part of the depiction.
chambre, lackeys, runners, chamber-cossacks, arabs, porters, etc. The Hermitage Department At the end, the panorama shows the night illumination during the navy parade in Portsmouth.
of Russian Culture has a collection of liveries that includes those of African servants of the Court, which are characterized by unconventional colouration, cut and trimming. Among the Pyasetsky left England on 19 June. In July or August, he completed the panorama that, in questions discussed in the article are those concerning the servants wearing the liveries and addition to its historical value was to become a monument to the artist’s workmanship and their responsibilities, as well as their careers in Russia. diligence.
404 SUMMARIES SUMMARIES N. Avetyan Published here is the catalogue of the Batenin porcelain stamps, including previously unpublished or unknown ones, with comments that take account of the porcelain in the SERGEY L’VOVICH LEVITSKY Hermitage and other museums, as well as the attributions suggested by the author.
New Materials for the Photographer’s Biography I. Bagdasarova The article is the most detailed of the existing biographies of Sergey L’vovich Levitsky, one of the most important nineteenth-century photographers. The biography is based on archival THE BROTHERS KORNILOV PORCELAIN WORKS materials, as well as nineteenth-century periodicals and memoirs, which allow to remove IN THE SECOND THIRD OF THE 19TH AND THE EARLY 20TH CENTURIES mistakes and inaccuracies come across in publications, more particularly, those concerning Contribution to the Development of St. Petersburg School of Porcelain Levitsky’s travels and commissions of portraits of the Imperial family.
On the basis of archival materials used in addition to earlier publications devoted to the Brothers Kornilov Porcelain Works (1835–1917), an attempt has been made to determine the T. Petrova role of the factory in the development of St. Petersburg school of porcelain. For the rst time PHOTOS OF THE RUMYANTSEV-PASKEVICHES’ PALACE IN GOMEL, the notion of “school” is discussed in connection with the art of porcelain and pottery. The BY GIOVANNI (IVAN) BIANCHI Kornilov Works demonstrate stylistic features common to the branches of one and the same production centre, as well as the factors generally conducive to the development of any art industry, such as methods of the organization of production- and creative process based on The seventeen photos of the 1860s by the well-known photographer Ivan Bianchi of a working experience, socially oriented production and market strategies, etc.
St. Petersburg in the Hermitage collection shed light on some previously unknown aspects of The productions of the Kornilov Works discussed are characterized by ingenuity, both the history of the Rumyantsev-Paskeviches’ estate, as well as the history of Russian nineteenth technological and artistic, which manifests itself in the original combinations of Historicism century estates generally. Bianchi’s photos show the ensemble of the estate buildings created by and Art Nouveau techniques.
outstanding architects of the eighteenth and nineteenth centuries. Besides, the pictures show This, in turn, is connected with the activities of most important artists employed by the the superb interior decorations (now unextant) and the rich collection of works of art housed brothers Kornilov, such as E. M. Bem, I. Ya. Bilibin, N. N. Karazin and I. A. Galnbeck.
Their work became responsible for the tradition of the individual approach to pottery In addition the historical signicance of the photos, the Gomel series is important for painting typical of both the Kornilov Works and St. Petersburg school of porcelain generally.
the artist’s biography, revealing some important aspects of his style and his perception of the The Kornilov Porcelain Works showed stability both at the market and in terms of the popularity objects depicted, in the context of visual and applied arts and architecture in the mid-nineteenth of their productionus with the public. Their traditions are being preserved by contemporary century.
St. Petersburg porcelain artists, whose works are published in the article.
I. Bagdasarova E. Khmelnitskaya ST. PETERSBURG BATENIN FACTORY AND THE TRADITIONS STATE ART-NOUVEAU VASES FROM THE COLLECTION OF THE IMPERIAL PORCELAIN WORKS: BATENIN PRODUCTION STAMPS OF GRAND DUKE VLADIMIR ALEXANDROVICH’S PALACE The merchant F.S. Batenin’s factory (1814–1838) was the rst important private porcelain The article is the rst publication of twenty-two late-nineteenth- to twentieth-century works in St. Petersburg. The archival records and the productions referred to in the article state Art-Nouveau vases of the Imperial Porcelain Works, from the former collection of the reveal the entire history of the factory, as well as a number of previously unknown facts. For palace of Grand Duke Vladimir Alexandrovich. The vases were purchased, through the Ofce the rst time the productions of the factory have been compared with those of the Imperial of the Grand Duke’s Court by Grand Duchess Maria Pavlovna. The vases are characterized by Porcelain Works in order to evaluate the inuence of the latter’s traditions upon the Batenin originality of decor created using a variety of Art-Nouveau techniques by the leading painters Factory. The Imperial Works’ productions were a kind of example for the factory, in the and sculptors of the Imperial Porcelain Works, E. A. Suliman-Grudzinsky, S. V. Romanov, modelling of form, decor, and the themes and technique of painting.
A. Lapshi, E. M. Kordes, etc. One of the vases is the Parrot by the Danish artist K. F. Linsberg, Very signicant in this context is the contribution of the Batenin Factory to the Russian supposedly one of the earliest productions of the Porcelain Works using underglazing. This is tradition of porcelain landscape-painting. As a private enterprise, the factory had a certain also indicative of a creative approach to the modelling of form and decoration methods at the nancial and technological exibility to implement its own ideas and projects in order to meet Imperial Porcelain Works during the Art Nouveau period.
the consumers’ demands.
СОДЕРЖАНИЕ CONTENTS И. Н. Баринова. Летний дворец Петра I в Летнем саду I. Barinova. Peter the Great’s Summer Palace in the Summer Gardens («Дом-корабль») (‘Ship Dwelling’) И. О. Сычёв. Мастера «механической музыки» в России I. Sychev. Russian “Mechanical-Music” Masters конца XVIII–XIX вв. 28 in the Late 18th and the 19th Centuries И. А. Гарманов. Работы К. Росси, О. Монферрана и А. Брюллова I. Garmanov. Works by Carlo Rossi, Auguste Montferrand в Зимнем дворце до пожара 1837 г. and Alexander Bryullov in the Winter Palace before the Fire of 1837.
К проблеме стилистической эволюции мебели 45 Stylistic Evolution of Furniture А. Г. Побединская. Походная церковь Александра I 73 A. Pobedinskaya. Alexander I’s Camp Chapel В. И. Федорова. Герой войны 1812 года Анастасий Антонович Юрковский. V. Fedorova. Anastasy Antonovich Yurkovsky, the Hero of the 1812 Campaign.
По неопубликованным документам 93 On the basis of unpublished materials Г. А. Миролюбова, С. Л. Плотников. Игральные карты для юношества, G. Mirolybova, S. Plotnikov. Playing Cards for the Young сочиненные Константином Грибановым 104 by K. Gribanov И. Г. Котельникова. История атрибуции I. Kotelnikova. The History of Attribution of Orest Kiprensky’s Portrait of a Woman женского портрета О. А. Кипренского 122 in the Hermitage Collection Ю. Ю. Гудыменко. Рафаэль, Микеланджело и русские художники Yu. Gudymenko. Raphael and Michelangelo and the Russian Artists первой половины XIX в. Очерки о «содержательности формы» of the First Half of the 19th Century. Essays on the “Content of Form” в живописи эпохи романтизма 132 in Romanticism Painting А. В. Соловьев. О некоторых рисунках из альбома М. Б. Розенберга 166 A. Solovyov. On Some Drawings in the Sketchbook of Moritz Rosenberg И. Н. Уханова. Яков Серяков – мастер камерного портрета 184 I. Ukhanova. The Master of Miniature Portrait Yakov Seryakov М. М. Евтушенко. Ф. Г. Солнцев – хранитель традиций M. Evtusheko. Fedor Solntsev, the Bearer of Russian древнерусского иконописного наследия 201 Icon-Painting Traditions А. В. Стрельников. Источники по истории национальных A. Strelnikov. Source-materials on the History of the Finnish Units вооруженных сил Великого княжества Финляндского of the Great Duchy of Finland in the Collection в собрании Государственного Эрмитажа 214 of the State Hermitage Н. И. Тарасова. «Арабы Высочайшего двора» на службе N. Tarasova. The “Arabs of the Highest Court” at the Russian Emperors’ Service у российских императоров в конце XIX – начале XX в. 227 in the Late Nineteenth and the Early Twentieth Centuries Е. Ю. Моисеенко. Золотошвейные платки и косынки в собрании E. Moiseenko. Gold-Embroidered Kerchiefs and Scarves in the Collection Отдела истории русской культуры 244 of the Hermitage Department of Russian Culture Г. А. Принцева. П. Я. Пясецкий. Панорама Лондона в дни празднования G. Printseva. The Panorama of London during the Celebration 60-летия царствования королевы Виктории 266 of the Sixtieth Anniversary of Queen Victoria’s Reign by Pavel Pyasetsky 408 CONTENTS СОДЕРЖАНИЕ Н. Ю. Аветян. Сергей Львович Левицкий. Новые материалы N. Avetyan. Sergey L’vovich Levitsky. New Materials к биографии фотографа 280 for the Photographer’s Biography Т. А. Петрова. Фотографии дворца Румянцевых-Паскевичей в Гомеле, T. Petrova. Photos of the Rumyantsev-Paskeviches’ Palace in Gomel, исполненные Джованни (Иваном) Бианки 302 by Giovanni (Ivan) Bianchi И. Р. Багдасарова. Петербургский завод Батенина в контексте освоения I. Bagdasarova. St. Petersburg Batenin Factory and the Traditions художественных традиций Императорского фарфорового завода. of the Imperial Porcelain Works: Batenin Production Stamps Особенности маркировки батенинских изделий I. Bagdasarova. The Brothers Kornilov Porcelain Works in the Second Third И. Р. Багдасарова. Завод братьев Корниловых во второй трети XIX – of the 19th and the Early 20th Centuries. Contribution to the Development начале XX в. и его вклад в развитие петербургской школы фарфора 355 of St. Petersburg School of Porcelain Е. С. Хмельницкая. Парадные вазы эпохи модерна из собрания дворца E. Khmelnitskaya. State Art-Nouveau Vases from the Collection великого князя Владимира Александровича 384 of Grand Duke Vladimir Alexandrovich’s Palace Список сокращений 397 Abbreviations Summaries 398 Summaries Научное издание Труды Государственного Эрмитажа XL КУЛЬТУРА И ИСКУССТВО РОССИИ Редактор И. А. Сенина Корректоры М. И. Козицкая, В. Ю. Самохина Перевод резюме на английский язык Ю. А. Клейнер Фотографы Ю. А. Молодковец, А. В. Теребенин Обработка иллюстраций Ф. А. Русов Оформление обложки М. С. Коваленко Макет и верстка В. В. Крайнева Подписано в печать 09.04.2008. Формат 70100 1/8.
Уч.-изд. л. 31.5. Тир. 500. Зак. Издательство Государственного Эрмитажа 190000, Санкт-Петербург, Дворцовая наб., Отпечатано в Государственном Эрмитаже 190000, Санкт-Петербург, Дворцовая наб.,