Drevnerusskaja ikonopis' = Early Russian icon painting
Древнерусская иконопись
By M(ikhail) V(ladimirovich) Alpatov. (Perevod N.Džonston. Cvetnaja s-emka Ė. [I.] Stejnerta. 2.izd.)<br>Moskva: Iskusstvo 1978. 330 S.m.Taf.,dav.S. 67-288 Taf. 4
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| Format: | UnknownFormat |
| Sprache: | rus |
| Veröffentlicht: |
Moskva
Iskusstvo
1978
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| Ausgabe: | 2. izd. |
| Schlagworte: | |
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Tag hinzufügen | Zusammenfassung: | By M(ikhail) V(ladimirovich) Alpatov. (Perevod N.Džonston. Cvetnaja s-emka Ė. [I.] Stejnerta. 2.izd.)<br>Moskva: Iskusstvo 1978. 330 S.m.Taf.,dav.S. 67-288 Taf. 4 |
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| Beschreibung: | "Over the last few years Soviet museums have considerably enlarged their collections of early Russian icon painting by acquiring a number of icons which had been re-discovered, freed of over paint and restored to their original aspect. The icons were later exhibited in Moscow and Leningrad and the exhibitions have shed a new light upon questions connected with the local schools in Ancient Rus. It was this which provided the stimulus for publication of the present album. It is an impossible task to tackle the entire artistic wealth of early Russian icon painting in a single album. The author, M.V. Alpatov, a Soviet scholar a world renown, has made a selection of the most interesting icons. But the album is not merely a collection of masterpieces of early Rue author, M.V. Alpatov, a Soviet scholar a world renown, has made a selection of the most interesting icons. But the album is not merely a collection of masterpieces of early Russian icon painting. Its aim is to lead up to the comprehension and study of the work of many anonymous painters of Ancient Rus and of such geniuses as Andrei Rublev, Dionysius, and the Kremlin Master, the creator of the Apocalypse icon. With this aim in view, Section II of the album contains reproductions of icons painted on the same theme but at various periods, and it demonstrates convincingly that a strict adherence to the canons on the part of the artists did not exclude their differing creative interpretations. In Section I the author juxtaposes Russian and Byzantine icons, which helps one to understand the specific features of the Russian school. Another section deals with icons which once were parts of iconostases and which still bear the imprint of belonging to these monumental ensembles. The other sections contain works of various schools and periods. They open with icons which give an idea of man's image in the painting of a given period" "In his choice of examples the author aims at making the reader feel he is in a museum, as it were, and enables him to see a painting both in its entirety and in its most interesting details. The brief notes which accompany each illustration and the basic bibliography are merely subsidiary aids. In the introductory text the author discusses in a consise manner the general problems of understanding ansd interpreting early Russian icon painting."--Front book jacket flap |
| Beschreibung: | 330 Seiten, davon Seiten 67 - 288 Tafeln überwiegend Illustrationen 35 cm |