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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.

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

Language: ru

Published: Dec. 22, 2020
permalink: http://doi.org/10.30687/978-88-6969-462-2/005

Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 International License 

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