Authors

Afanasyeva Anna N., Budrina Liudmila A.
ICONOGRAPHY OF FEMALE HISTORICAL IMAGES ON 19TH CENTURY FRENCH PORCELAIN: IDENTIFICATION OF THE SOURCES FOR THE PAINTINGS ON THE ITEMS IN THE EKATERINBURG MUSEUM’S COLLECTION

Architecton: Proceedings of Higher Education №2 (74) June, 2021

The article is devoted to the attribution of objects from a set of china with portrait paintings made at one of the private porcelain factories in France in the mid-19th century, now in the collection of the Ekaterinburg Museum of Fine Arts. Data on the origins of the form, the history of the porcelain decoration techniques used, and the sources of the portrait images are given. As a result of the study, the attribution of the objects was ascertained, the circle of those depicted in the portrait reserves was determined, and the artistic paintings and their graphic interpretations that served as models for the paintings on the items of the set were identified.

Vinokurov Sergey E., Budrina Liudmila A.
URAL STONECUTTERS’ INTERPRETATION OF RUSSIAN MEDALS

Architecton: Proceedings of Higher Education №1 (69) March, 2020

The article discusses the attribution of marble bas-reliefs depicting Imperial Family members created in the early 19th century at the Ekaterinburg Lapidary Factory. The technology and traditions of marble bas-relief cutting are outlined, and the sources of the profile portraits of Emperor Alexander I, Empress Elizabeth Alekseievna, Grand Duke Pavel Petrovich and Grand Duchess Maria Fedorovna are retraced.
The analysis of the artworks and their comparison with the sources suggest that the works of the Ural stone cutters should be considered within the same context of European art industry development and relationships between different decorative and applied arts in the 18th – 19th century.

Budrina Liudmila A.
RELIEF STILL-LIFE IN PETERHOF LAPIDARY PRODUCTION OF THE 1840s – 1860s: ORIGINS, CONTEXT, PARTICULARITIES

Architecton: Proceedings of Higher Education №4 (68) December, 2019

The article is a study of stylistic patterns in the relief colored-stone mosaics created in the genre of still-life in the 1840s-1860s by the artists of the Imperial Peterhof Lapidary Factory. It also presents information about the context in which this technique re-appeared: historical origins, common European trends in furniture art associated with the stylistics of historicism and Neo-Renaissance, and how this technique was applied to create still-life compositions by the artisans of the Ekaterinburg Lapidary Factory.
The analysis of the artworks revealed characteristic features of the Peterhof mosaics making them different from those of their European contemporaries: careful choice of materials, techniques, stylistics commitment to exact botanical representation of plants, and imitation of nature, which is very typical of the mid-19th century decorative art.