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Key witnesses shed light on an essential part of the history of music. "In the Soviet Union, from 1917 to 1990, in an extremely difficult context, one of terror even, there developed one of the most intense and richest musical environments of the 20th century ...," writes Bruno Monsaingeon. A fascinating mystery that Monsaingeon attempts to elucidate in his film. This essential period of music history is recounted through conductor Guennadi Rojdestvenski, the last remaining representative of these fabulous performers of the Soviet era (he was born in 1931). He is full of humour and it is a treat to watch him explain why there are two page-295's in the biography of Prokofiev published in 1957 and to hear him talk about Tikhon Khrenikov, the terrifying secretary general of the Union of Composers who was in office for forty years ... Other witnesses include the conductor Rudolf Barshai "One day, I said to myself, enough is enough, and I decided to leave", the pianist Viktoria Postnikova: "Even seated in the plane, they could come and fetch you and say, Out!" and the central figure of composer, Dimitri Shostakovich: "If I look back, I only see ashes and bodies."

The monograph by L.V. Polyakova collects and systematizes the material
concerning the creative biography of E. Zamyatin, his ideological priorities, poetics, the history of publications, relations with writers. The historiosophical concepts of
the fi rst third of the century, facts and phenomena of literary life, disputes of critics,
as well as modern literary thought are presented. A broad context is being built that
allows us to perceive the philosophical depth and artistic power of Zamyatin's prose
in its integrity, multidimensionality, connections with the humanitarian insights of
the twentieth century. Zamyatin's creative individuality is revealed through the
correlation of his views on the people, the revolution, world history with the views
of N. Berdyaev, A. Blok, M. Gorky, S. Yesenin, I. Ilyin, T. Mann, N. Trubetskoy,
S. Frank, O. Spengler and many others. Hermeneutical approach to the comprehension
of works is effective, comparative analysis is actively used. L.V. Polyakova's research
is marked by a vivid polemic and reasoned judgments.

This article describes a terminology issue which appeared as a result of intrusion of politically engaged verbal constructs in the conceptual apparatus of art history and the theory of art education. The author proves the contradictory nature of definitions and discloses the authentic meaning of statements in the original context. He also argues with the provisions of Soviet authors about the pedagogical method of D. Kardovsky. It is established that the category of 'method' still lacks proper reflection in theoretical works on the topic, because it was previously considered by Russian authors as one existing a priori as a universal category or as a number of techniques. The notion of 'method' which was popular during the Modern Era owing to Descartes, and reached the peak of its popularity in the epoch of Positivism in Europe, was an active construct much later, i.e. in the 1930s thanks to the concept of the Russian Association of Proletarian Writers. In the article, the author studies the Soviet discourse of the category of 'method' and its connotations with kindred notions such as, e.g. methodology (a relatively ordered sequence of actions). The author disproves the descriptions of the teaching activity of an artist and teacher through the category of 'realism' or any other tendency, direction or style. On the contrary, he puts forward categories of method and professional tradition. The school of art is regarded as a place to teach basics of art, which makes it different from the literary understanding of a school as a group of authors united by a stylistic proposition. The notions of 'method' and 'style' are differentiated in order to diverge from the Soviet literary understanding of a 'school' which heavily relied on the concept of method of socialist realism, reproduced by the Soviet art studies as an 'artistic method'. ; Статья описывает проблему терминологии, возникшую в результате внедрения в понятийные аппараты искусствознания и теории художественного образования политически ангажированных речевых конструктов. Доказывается противоречивость определений и устанавливается аутентичный смысл высказываний в оригинальном контексте. Оспариваются положения, выдвинутые рядом советских авторов о педагогическом методе Д. Кардовского. Выявляется, что категория «метод» остается до сих пор не отрефлексированной в теоретических исследованиях по теме, поскольку ранее рассматривалась отечественными авторами либо a priori, в качестве универсалистской категории, либо только как совокупность приемов. Понятие «метод», пользовавшееся благодаря Декарту популярностью в Новое время и пережившее крайний ее пик в эпоху позитивизма в Европе, в Советском Союзе являлось активным конструктом и позже — в 1930-е гг., благодаря концепции РАПП. В статье исследуется советский дискурс категории «метод» и ее коннотации с близкими понятиями, такими как, например, «методика» (относительно выстроенная последовательность действий). Опровергаются описания преподавательской деятельности художника-педагога через категорию «реализма» или любого другого направления, течения или стиля. В противовес им предлагаются категории метода и профессиональной традиции. Художественная школа рассматривается в качестве места обучения изобразительной грамоте, что отличает ее от литературоведческого понимания школы как группы авторов, объединенных общей стилистической установкой. Понятия «метод» и «стиль» дифференцируются с целью отойти от советского литературоведческого понимания «школы», оперировавшего концептом метода социалистического реализма, калькированного советским искусствознанием как «творческий метод».

The paper aims to carry out a historical and cultural examination of the insufficiently studied social practice experience of Russian avant-garde artists: their innovative activities leading towards radical institutional modernization of artistic culture in the early years of Soviet power. An institution-and-system approach laid the methodological groundwork for the analysis since it is the phenomenon of the institute that integrates and regularizes various components of artistic culture: artistic consciousness, social subjects, their artistic practices and relationships, strategic and specific programs (goals, values and methods), economic, ideological and political conditions. The paper reflects upon the main paradigms and directions of the restructuring and systemic development of artistic culture and the creative role of avant-garde artists, the short but fruitful experience of their collaboration with the Soviet government. It started with the substantive coordination of the artistic avant-garde program and the ideological program of political power. Then this experience resumed in the avant-garde artists' work in state cultural management bodies, in their large-scale practical participation in artistic and cultural construction, which they tried to combine with their pioneering notions of art and its social role. V. Kandinsky, K. Malevich, A. Rodchenko, V.Tatlin, N. Punin were among the ideologists and leaders of this transformation program, many avant-garde artists also took part in its implementation. These efforts resulted in creating a network of artistic and cultural institutions of a new type, the formation and implementation of a new state policy in the field of artistic culture, the change in the principles and forms of organization and functioning of all aspects of artistic culture. The author concludes that the short tenure of avant-garde artists and the implementation of their institutional construction program had a significant impact on the development of artistic culture of the early Soviet ...

This article analyses paintings by artist and Napoleonic general L.-F. Lejeune (1775–1848) as a historical source reflecting the period between 1796 and 1800. In 2012, there was a personal exhibition of the painter in Versailles, which presented the works stored in the museum and in a private collection of the artist's descendants. A detailed catalogue was published following the exhibition. There are no special works published in Russia devoted to the artist. Meanwhile, the works of Lejeune are of great interest because he was not only an artist, but also a general, an eyewitness and a participant of all the military campaigns of the Napoleonic era.The first painting where his talent of an artist and historiographer manifested itself was The Battle of Marengo exhibited in the Salon of 1801. It was followed by a number of his works, i.e. The Battle of Lodi, The Battle of Mount Tabor, The Battle of Abukir, and The Battle of the Pyramids. All these paintings are stored in the Palace of Versailles.This article analyses these paintings reflecting the early period of the Napoleonic Wars. The authors interpret the paintings and explore their correspondence to the realities and the spirit of the time, based on the memoirs of the artist and documents of the time.A distinctive feature of Lejeune's painting was the combination of different battle scenes in a single canvas, which resembles mediaeval miniatures. Nevertheless, this fact did not affect the reliability of his canvases, which are valuable documents on the history of the Napoleonic Wars. ; Данная статья посвящена анализу живописи художника и наполеоновского генерала Луи-Франсуа Лежена (1775–1848) как исторического источника для периода 1796–1800 гг. В 2012 г. в Версале прошла персональная выставка живописца, на которой были представлены работы, хранящиеся в этом музее и в частном собрании потомков художника. По итогам выставки был издан подробный каталог. Однако на русском языке о творчестве Лежена до сих пор не было опубликовано специальных работ. Между тем, творчество и личность Л.-Ф. Лежена интересны тем, что он был не только художником, но и боевым генералом, свидетелем и участником практически всех военных кампаний наполеоновской эпохи.Первой картиной, в которой проявился талант Л.-Ф. Лежена как художника и историографа, стала «Битва при Маренго», выставленная в Салоне 1801 г. За «Битвой при Маренго» последовал целый ряд интереснейших произведений: «Битва при Лоди», «Битва у Фаворской горы», «Битва при Абукире», «Битва при Пирамидах». Все названные полотна сегодня хранятся в Версальском дворце-музее.Разбору этих картин посвящена данная статья. На основе мемуаров художника, а также синхронных документов и свидетельств авторы объясняют содержание полотен, их соответствие реалиям и духу времени.Отличительной особенностью живописи Л.-Ф. Лежена стало совмещение на батальных произведениях разновременных сцен сражения, сближающих его живопись со средневековой миниатюрой. В то же время эта черта никоим образом не отразилась на достоверности картин, являющихся ценнейшим документом по истории наполеоновских войн.

Поступила в редакцию 05.02.2019. Принята к печати 18.04.2019. ; Submitted on 05 February, 2019. Accepted on 18 April, 2019. ; Данная статья посвящена анализу живописи художника и наполеоновского генерала Луи-Франсуа Лежена (1775–1848) как исторического источника для периода 1796–1800 гг. В 2012 г. в Версале прошла персональная выставка живописца, на которой были представлены работы, хранящиеся в этом музее и в частном собрании потомков художника. По итогам выставки был издан подробный каталог. Однако на русском языке о творчестве Лежена до сих пор не было опубликовано специальных работ. Между тем, творчество и личность Л.-Ф. Лежена интересны тем, что он был не только художником, но и боевым генералом, свидетелем и участником практически всех военных кампаний наполеоновской эпохи. Первой картиной, в которой проявился талант Л.-Ф. Лежена как художника и историографа, стала «Битва при Маренго», выставленная в Салоне 1801 г. За «Битвой при Маренго» последовал целый ряд интереснейших произведений: «Битва при Лоди», «Битва у Фаворской горы», «Битва при Абукире», «Битва при Пирамидах». Все названные полотна сегодня хранятся в Версальском дворце-музее. Разбору этих картин посвящена данная статья. На основе мемуаров художника, а также синхронных документов и свидетельств авторы объясняют содержание полотен, их соответствие реалиям и духу времени. Отличительной особенностью живописи Л.-Ф. Лежена стало совмещение на батальных произведениях разновременных сцен сражения, сближающих его живопись со средневековой миниатюрой. В то же время эта черта никоим образом не отразилась на достоверности картин, являющихся ценнейшим документом по истории наполеоновских войн. ; This article analyses paintings by artist and Napoleonic general L.-F. Lejeune (1775–1848) as a historical source reflecting the period between 1796 and 1800. In 2012, there was a personal exhibition of the painter in Versailles, which presented the works stored in the museum and in a private collection of the artist's descendants. A detailed catalogue was published following the exhibition. There are no special works published in Russia devoted to the artist. Meanwhile, the works of Lejeune are of great interest because he was not only an artist, but also a general, an eyewitness and a participant of all the military campaigns of the Napoleonic era. The first painting where his talent of an artist and historiographer manifested itself was The Battle of Marengo exhibited in the Salon of 1801. It was followed by a number of his works, i.e. The Battle of Lodi, The Battle of Mount Tabor, The Battle of Abukir, and The Battle of the Pyramids. All these paintings are stored in the Palace of Versailles. This article analyses these paintings reflecting the early period of the Napoleonic Wars. The authors interpret the paintings and explore their correspondence to the realities and the spirit of the time, based on the memoirs of the artist and documents of the time. A distinctive feature of Lejeune's painting was the combination of different battle scenes in a single canvas, which resembles mediaeval miniatures. Nevertheless, this fact did not affect the reliability of his canvases, which are valuable documents on the history of the Napoleonic Wars.

The article suggests a description of the main landmarks of the development of the Mongolian art at the beginning of the 20th century. It is stated that visual arts in Mongolia have always been concerned with the reality depicting the social and political life of the country as well as the mode of life, customs and religious beliefs of the people. For example, worship of khans who were considered to be khans due to the will of the Heaven is one of the most important values of the traditional Mongolian culture. This theme is widespread in the Mongolian art. However, this doesn't mean that the Mongolian art is initially politicized. In the author's opinion, statehood is one of the symbols which have always been of great importance for the Mongolian culture. It is this symbol that becomes the matter of the picture. As to the Mongolian art, it is essentially symbolic as it resembles the dialectics between the eternal and the perishable, the divine and the human underlying the interdependency of the natural and social laws. The symbolism of the Mongolian art makes it original and distinguishes it from the European realistic art. ; В статье прослеживаются основные вехи развития монгольской живописи в начале ХХ в. Отмечается, что изобразительное искусство в Монголии всегда отражало реалии общественной и политической жизни страны, а также быт, обычаи и религиозные верования народа. Так, например, одна из важнейших ценностей традиционной монгольской культуры – это почитание хана, который является ханом по воле Неба. В живописи эта тема также получает свое освещение. Однако это не означает, что монгольская живопись была изначально политизирована. По мнению автора, государственность – это один из символов, имеющих большое значение для монгольской культуры, и именно этот символ становится предметом изображения в живописи, которая по сути своей глубоко символична, представляя диалектику вечного только тленного, человеческого и божественного и подчеркивая взаимозависимость законов природы и общества. Символизм монгольского изобразительного искусства определяет его своеобразие и отличает его от европейского реалистического искусства.Ключевые слова: монгольская живопись, символизм, реализм, монгольские художники.The development of the national art of Mongolia in the first quarter of the 20th century The article suggests a description of the main landmarks of the development of the Mongolian art at the beginning of the 20th century. It is stated that visual arts in Mongolia have always been concerned with the reality depicting the social and political life of the country as well as the mode of life, customs and religious beliefs of the people. For example, worship of khans who were considered to be khans due to the will of the Heaven is one of the most important values of the traditional Mongolian culture. This theme is widespread in the Mongolian art. However, this doesn't mean that the Mongolian art is initially politicized. In the author's opinion, statehood is one of the symbols which have always been of great importance for the Mongolian culture. It is this symbol that becomes the matter of the picture. As to the Mongolian art, it is essentially symbolic as it resembles the dialectics between the eternal and the perishable, the divine and the human underlying the interdependency of the natural and social laws. The symbolism of the Mongolian art makes it original and distinguishes it from the European realistic art.Keywords: Mongolian art, symbolism, realism, Mongolian artists.

In The Icon and the Square, Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism.Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists.The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina's timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture.

The article studies the pseudo-Christian discourse of the 1910s as well as the manipulation of Christian values by the Keiser political elite and the reaction to it of expressionists and dada artists. ; В статье рассматривается псевдохристианский дискурс 1910-х гг.; манипуляция христианскими ценностями со стороны кайзеровской политической элиты и реакция, «ответ» экспрессионистов и дадаистов на это явление.