Quaderni di Venezia Arti

Станковизм как канон и его преодоление в живописи Общества станковистов

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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.


Open access

Published Dec. 22, 2020 | Language: ru

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

Copyright © 2020 Oksana Voronina. 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.

Permalink http://doi.org/10.30687/978-88-6969-462-2/006


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