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Станковизм как канон и его преодоление в живописи Общества станковистов

Oksana Voronina    State Institute for Art Studies (SIAS), Moscow; Moscow Museum of Modern Art, Russia    

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abstract

This article aims to outline the range of ideas the OST members had about canonical easel painting and to show how the artists creatively interacted with these ideas in their practice. The paper is based on a selection of paradigmatic as well as little-known OST artworks and archival materials. Using formal analysis on one hand and historical analysis on the other hand, it is possible to demonstrate that the OST artists based their work on a combination of opposite technical approaches. The purpose of this research is to clarify the nature of OST art for which there was much hope in the 1920s and that subsequently became the foundation for the work of the post-war artists.

keywords: VKHUTEMAS. Museum of Painterly Culture. Easel painting. Easel Painters’ Society. Project Method – Dynamics. Statics. Compositional axes. Formula similarity. Non finito. Tangible forms. Abstraction.

Language: ru

Published: Dec. 22, 2020  
permalink: http://doi.org/10.30687/978-88-6969-462-2/006

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