Authors

Galeeva Tamara A., Koposova Lyubov V.
WHEN I WAS A BIRD: THE TEXTILE ART OF ELIZAVETA MANEROVA 2000-2020s

Architecton: Proceedings of Higher Education №3 (79) September, 2022

The article analyzes the creative practices of the well-known Russian textile artist and teacher Elizaveta Yuryevna Manerova, who lives and works in Yekaterinburg. As one of the founders of the Ural textile school, she plays an important role in the artistic and educational environment of the city. Special attention in the text is paid to the origins and conditions of the formation of the artist's creative personality in the 1970s and 1980s, the nature of the figurative structure of her textile series and individual works created in various techniques in the 1990s and 2010s. The influence of materials and technologies used by Elizaveta Manerova on the visual features of her paintings and textile works is specially noted. Consideration is given to her pedagogical activity, experiences in organizing art exhibitions, in particular, the Ural Triennial of Decorative Art (2016-2019), which is significant for the development of Russian art culture

Galeeva Tamara A., Senokosova Anastasia N.
THE ARTISTIC AND PEDAGOGICAL ACTIVITIES OF WALTER SPIES IN THE ISLAND OF BALI (INDONESIA) IN THE 1920–1930s

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

The article is devoted to the significance and contents of the pedagogical activities of the Russian-German artist Walter Spies, who stood at the origins of professional fine arts on the island of Bali. The key points of the pedagogical program implemented by W.Spies in the course of the Pita Maha Association of Balinese Masters are considered and related changes in the traditional art culture of Bali are reviewed. The study aims to close the gap in the knowledge of the history of modern Balinese art in Russia as an example of integrative contacts between of Eastern and Western traditions.

Galeeva Tamara A.
SET DESIGN BY SERGE SUDEIKIN ON AMERICAN STAGE IN THE 1920s: RUSSIAN BALLETS OF IGOR STRAVINSKY IN METRPOLITAN OPERA

Architecton: Proceedings of Higher Education №4 (60) December, 2017

The article reviews the work of the Russian émigré painter Serge Sudeikin (1882–1946) on ballet performances in New York Metropolitan Opera in the 1920s. Using two performances with Igor Stravinsky’s music («Petrushka», 1925, and «Les Noces», 1929), the author considers Sudeikin’s set design during that period, follows up the changes in his stylistics of ballet set design, and evaluates their significance for the further evolution of the master who fit naturally into the context of another culture. Based on archival documents, visual material, publications of those years, and modern studies, an attempt is made to reconstruct the visual image of the performances that have been undeservedly put back in the history of set design into the shadow of their better known analogues of Diaghilev’s company: the performances by А. Benois – М. Fokin – I. Stravinsky («Petrushka», 1911) and B. Nijinska – N. Goncharova – I. Stravinsky («Les Noces», 1923).