On Consent and Interaction between Two Noblest Arts: Painting and Sculpture in 18th-century Russia
Keywords:
Russian art of the 18th century, painting, sculpture, Academy of Arts, interior ensembleAbstract
The article raises the problem of interaction between two most important types of art according to the academic classification in the realm of Russian artistic culture of the Enlightenment. The allocation of the “noblest” of arts in the creative practice during the modern age in Russia was of fundamental importance in the context of the need to create regular hierarchical models for the Russian imperial state system. Included in the ensemble environment, these types of art naturally entered into various relationships with each other, relying on the common things that united them, and at the same time asserting their specific pictorial and expressive features, which is shown in a number of examples from the first and second half of the century. There was a certain balance between the general and the particular, which was regulated by a number of circumstances, including the patterns of maturation of New Russian art and the features of stylistic development. Researchers have consistently addressed the problems of interaction between different art types in 18th-century Russia. However, there have been no studies that have focused exclusively on this topic. The expectations of customers, based on their understanding of the mission of a particular type of art, deserve special attention. The focus of the article will be on the analyses of subject matter, plot, and genre in painting and sculpture. Another task is to draw attention to the comparative characteristics of the results of the painter’s and sculptor’s creative work as they exist in the public consciousness.
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