Authors

Ilyichev Denis V.
Attribution of the painting "Madonna with the Christ Child, John the Baptist and the Archangel Gabriel" in the collection of the Nizhny Tagil Museum of Fine Arts

Architecton: Proceedings of Higher Education №2 (82) June, 2023

The article proposes an attribution for the previously unexplored painting «Madonna and Child with John the Baptist and the Archangel Gabriel», early 16th century, from the Nizhny Tagil Museum of Fine Arts. This attribution is based on the obvious commonality of the compositional solution of the painting under study with its replica, attributed to the brush of the Italian painter Domenico Puligo and found at one of the American auctions.Comparison of the artistic techniques in the works of D. Puligo and select paintings by Andrea del Sarto made it possible to reveal the closeness of the approaches of the two authors, which is confirmed by the biographical evidence of Giorgio Vasari about the direct influence of A. del Sarto on the work of D. Puligo in the 1500s - early 1510s and by the citing of certain details from the painting by A. del Sarto, one of which was identified in the work under study.
An analysis of the results of technological and art studies of the artwork from the Nizhny Tagil museum and their correlation with the photographs of the Madonna from the Corsini Palace have made it possible to propose an attribution of the painting.

Ilyichev Denis V.
THE INFLUENCE OF WESTERN EUROPEAN AND RUSSIAN ACADEMIC ART ON THE CREATION OF CHURCH COMPLEXES IN NIZHNY TAGIL IN THE LATE 18TH– SECOND THIRD OF THE 19TH CENTURY

Architecton: Proceedings of Higher Education №1 (73) March, 2021

The article deals with the interpretation of Western European artistic legacy in the decoration of church complexes in Nizhny Tagil (Vyisko-Nikolskaya Church, Vvedenskaya Church, and the Church of the Entry of the Lord into Jerusalem).
The basis for this study was the legacy available in the memorial estate "The Mining Urals" and displayed at the exhibition “Visible Witnesses of the Invisible World».
The author performs the attribution of some of the artworks displayed at the exhibition and pointing to the influence of academic art on icon images, in particular works by 16th-17th century European artists and several Russian painters which were employed in referencing and copying by icon painters.
New attribution data highlight the role of customers who ordered artworks for the Nizhny Tagil churches in the translation of European esthetics to the Middle Urals. Since this aspect in Ural cult art studies was not previously covered on this scale, the exhibition emphasizes the cross-cultural ties between Nizhny Tagil, the Russian capital city, and Western Europe.