Тема России, объединяющей народы, в проектах монументальной живописи Евгения Лансере

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DC Field	Value
dc.identifier	ECF_chapter_5045
dc.contributor.author	Pavlinov Pavel
dc.title	Тема России, объединяющей народы, в проектах монументальной живописи Евгения Лансере
dc.type	Chapter
dc.language.iso	ru
dc.description.abstract	This article discusses how the canon of the allegorical representation of Russia evolved. Formed in the eighteenth century by Western European masters, it was revised by Eugene Lanceray between 1915 and 1916 in his projects for the ceiling at the Kazan railway station in Moscow. In the 1920s, both the new leadership and the youth rejected the attempts to use old iconography. Thus, in the early 1930s, a new canon showing the USSR as a country that unites workers of different backgrounds appeared. It was used in the Palaces of Culture until the 1950s. Moreover, in 1945 Lanceray proposed a new allegory for peace in the image of a Russian woman with a child, which was later transformed into different versions of the allegory of the Motherland.
dc.relation.ispartof	Quaderni di Venezia Arti
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing, Fondazione Università Ca’ Foscari
dc.issued	2020-12-22
dc.identifier.uri	http://edizionicafoscari.it/en/edizioni4/libri/978-88-6969-463-9/tema-rossii-obediniaiushchei-narody-v-proektakh-mo/
dc.identifier.doi	10.30687/978-88-6969-462-2/005
dc.identifier.eissn	2784-8868
dc.identifier.isbn	978-88-6969-463-9
dc.identifier.eisbn	978-88-6969-462-2
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
item.fulltext	with fulltext
item.grantfulltext	open
dc.peer-review	no
dc.subject	Allegory for peace
dc.subject	Allegory for peace
dc.subject	Allegory of Russia
dc.subject	Allegory of Russia
dc.subject	Celebration of unity
dc.subject	Celebration of unity
dc.subject	Eugene Lanceray
dc.subject	Eugene Lanceray
dc.subject	Kazan railway station
dc.subject	Kazan railway station
dc.subject	Monumental painting
dc.subject	Monumental painting
dc.subject	Unity of West and East
dc.subject	Unity of West and East
dc.subject	‘Motherland’
dc.subject	‘Motherland’
dc.subject	‘Peace’
dc.subject	‘Peace’

Chapter
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Тема России, объединяющей народы, в проектах монументальной живописи Евгения Лансере

Pavel Pavlinov State Institute of Art Studies (SIAS), Moscow, Russia

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abstract

This article discusses how the canon of the allegorical representation of Russia evolved. Formed in the eighteenth century by Western European masters, it was revised by Eugene Lanceray between 1915 and 1916 in his projects for the ceiling at the Kazan railway station in Moscow. In the 1920s, both the new leadership and the youth rejected the attempts to use old iconography. Thus, in the early 1930s, a new canon showing the USSR as a country that unites workers of different backgrounds appeared. It was used in the Palaces of Culture until the 1950s. Moreover, in 1945 Lanceray proposed a new allegory for peace in the image of a Russian woman with a child, which was later transformed into different versions of the allegory of the Motherland.

Published

Dec. 22, 2020

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ISBN (PRINT)

978-88-6969-463-9

ISBN (EBOOK)

978-88-6969-462-2

Keywords: Monumental painting • Kazan railway station • ‘Peace’ • Unity of West and East • ‘Motherland’ • Eugene Lanceray • Celebration of unity • Allegory of Russia • Allegory for peace

permalink: http://doi.org/10.30687/978-88-6969-462-2/005

Copyright: © 2020 Pavel Pavlinov. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

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