FORMATION AND DEVELOPMENT OF METHODOLOGICAL ASPECTS OF THE GENRE OF URBAN PANORAMA IN RUSSIAN FINE ART OF THE XVIII – XIX CENTURIES
UDC index:
76.01:769.1"17-18"
DOI: 10.31773/2078-1768-2024-66-177-188
Article ID in the RSCI:
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Information about authors: Guseva Ksenia Evgenievna, art historian, researcher (St. Petersburg, Russian Federation). E-mail: SKalatravaG@gmail.com Tseitlina Marina Vladimirovna, PhD in Art History, Associate Professor of the Department of History and Theory of Arts, St. Petersburg State University of Industrial Technologies and Design (St. Petersburg, Russian Federation). E-mail: zeitlinam.72@mail.ru
Annotation: The article is devoted to the study of the formation of the genre of «urban panorama» in the cultural and historical context of European and Russian art of the XVIII - XIX centuries. The etymology, methods and techniques of panorama formed in Russian graphic art under the influence of European masters. The author attempts to distinguish the concept of veduta, the principles of construction and methods that were borrowed by Russian masters, and the concept of panorama, formed at the beginning of the XIX century. The articleis explored the first urban vedutes of Moscow and St. Petersburg of the XVIII century, the methodological aspects of which were developed in the panoramic views of the XIX century. The author attempts to identify the main types of architectural urban views that contributed to the formation and development of the art of panorama. The role of theoretical works on perspective, which influenced the methods and techniques of creating the illusion of perception in graphic images, is studied. Particular attention is paid to the methodological aspects of architectural capriccio: the reception of perspective decreases, reconstruction, idealization, which contributed to the creation of a certain architectural environment in the view images for representative purposes. The importance of subjectivity of artistic vision in the construction of urban panoramas is identified. The article is explored the features of the development of panoramic graphics of the early XIX century, which subsequently transformed into an independent genre of panorama, characterized by a circular overview of the depicted urban landscape.
Keywords: urban panorama, veduta, architectural landscape, capriccio, methodological aspects, perspective theory, species engravings, russian architectural graphics
DOI: 10.31773/2078-1768-2024-66-177-188
Article ID in the RSCI:
Article file: Download
Information about authors: Guseva Ksenia Evgenievna, art historian, researcher (St. Petersburg, Russian Federation). E-mail: SKalatravaG@gmail.com Tseitlina Marina Vladimirovna, PhD in Art History, Associate Professor of the Department of History and Theory of Arts, St. Petersburg State University of Industrial Technologies and Design (St. Petersburg, Russian Federation). E-mail: zeitlinam.72@mail.ru
Annotation: The article is devoted to the study of the formation of the genre of «urban panorama» in the cultural and historical context of European and Russian art of the XVIII - XIX centuries. The etymology, methods and techniques of panorama formed in Russian graphic art under the influence of European masters. The author attempts to distinguish the concept of veduta, the principles of construction and methods that were borrowed by Russian masters, and the concept of panorama, formed at the beginning of the XIX century. The articleis explored the first urban vedutes of Moscow and St. Petersburg of the XVIII century, the methodological aspects of which were developed in the panoramic views of the XIX century. The author attempts to identify the main types of architectural urban views that contributed to the formation and development of the art of panorama. The role of theoretical works on perspective, which influenced the methods and techniques of creating the illusion of perception in graphic images, is studied. Particular attention is paid to the methodological aspects of architectural capriccio: the reception of perspective decreases, reconstruction, idealization, which contributed to the creation of a certain architectural environment in the view images for representative purposes. The importance of subjectivity of artistic vision in the construction of urban panoramas is identified. The article is explored the features of the development of panoramic graphics of the early XIX century, which subsequently transformed into an independent genre of panorama, characterized by a circular overview of the depicted urban landscape.
Keywords: urban panorama, veduta, architectural landscape, capriccio, methodological aspects, perspective theory, species engravings, russian architectural graphics
