Authors

Afanasyeva Anna N., Vinokurov Sergey E.
TOBY JUGS IN THE COLLECTION OF EKATERINBURG MUSEUM OF FINE ARTS: MODELS, SOURCES AND THEIR PROTOTYPES

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

The article is devoted to the attribution of English ceramics and Russian porcelain artworks united by the common typology of models, the time of creation and the source of entry into the collection of Ekaterinburg Museum of Fine Arts. The objects in question are versions of toby jugs popular in Great Britain in the last third of the 18th and first half of the 19th centuries. The attribution of artworks served as a pretext for studying the sources of models for objects of domestic porcelain enterprises, elucidating the genesis of the “toby” model both on the basis of the subject range of European ceramic industries and literary and historical prototypes of the depicted characters.
The study made it possible to attribute three artworks from the museum's collection of porcelain and introduce it into scientific circulation for the first time. In addition, the article raises the question of actualization and fruitfulness of the combination of museum attribution methods with the approach to an subject as a monument of cross-cultural relations in the art of Europe of Modern Age.

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.