Suchergebnisse

Abstract. Olexander Dovzhenko's works reflect a complicated and contradictory process of artistic practice in totalitarian conditions. Social, cultural and political factors had a significant influence on the creative vision of O. Dovzhenko. He was in conditions of increasing ideological pressure and political regulation of creative activity, so the artist had to suppress his own aesthetic principles. O. Dovzhenko had to obey the government and to be corresponded for external requirements.The purpose of research is to find out the social, cultural and political factors of influence on creative vision of artist; to comprehend the problem of internal conflict of creative personality and its reflection in a filmscript «Arsenal».Results of research. Oleksandr Dovzhenko's "alternative response" to the ideological and political project of the Soviet government had been observed in his early artistic achievements, for example films "Zvenyhora", "Earth". We can see another "variant response" with approach to the official version in "Arsenal" (1929). The artist's behavior was on the verge of balancing. On the one hand he accepted the official ideology, but on the other hand O. Dovzhenko had internal denial caused by the nature of the national mentality. This is an inevitable source of internal conflict. The psychological intrapersonal conflict of O. Dovzhenko as a film director had been provoked by both internal and external facts. Dovzhenko was able to show many different accidents from the beginning of World War I to the times of the revolution and liberation struggles in 1918 in the screenplay "Arsenal". This screenplay is full of tragedy tellings about the soldiers' return home from the front, about the confrontation between the Haidamaks, who cooperated with the Central Rada and the front-line soldiers supported by government. The author's interpretation of Ukrainian revolution, the national struggle, with a specific satirical aspect from the standpoint of the Bolshevik Party can be investigated. O. Dovzhenko renounced of his past. The author had to maneuver between ideology and creative impulses, readiness to submit to an external authority and national feelings. But anyway, O. Dovzhenko found a possibility to show dramatic pages of Ukrainian history through the prism of class categories and tendentious coverage of national liberation struggles in the film "Arsenal". ; Анотація. У статті досліджено соціально-культурні і суспільно-політичні фактори впливу на творче бачення О. Довженка. Встановлено, що в умовах посилення ідеологічного тиску та політичного регламентування творчої діяльності, притлумлюючи естетичні принципи, О. Довженко мусив «притиратися» до проектів влади та відповідати її зовнішнім вимогам. Не відкидаємо й іншої причини добровільного й ревного виконання «соціального замовлення»: бажання долучитися до продукування в національному культурному просторі синтетичного «витвору» мистецтва – українського кіно, нехай і в умовах радянської дійсності. Знятий до чергової річниці більшовицького перевороту «Арсенал», підтверджує, з одного боку, зречення ідеалів молодості та визнання талановитим режисером «помилок» власного (петлюрівського) минулого, з іншого – оригінальний творчий підхід та суто довженківське трактування історичних подій із національним духом і символікою. У стрічці режисер став на бік переможців та представив офіційну версію подій Першої світової і громадянської війни, української революції, повстання київських робітників на заводі «Арсенал». Осмислено проблему внутрішнього конфлікту творчої особистості та її відображення у кіносценарії «Арсенал», що є підтвердженням самодеструктивного роздвоєння внутрішнього буття талановитого режисера і сценариста, якому доводилося маневрувати між ідеологією і творчими поривами, готовністю підкоритися зовнішній авторитетній інстанції та національними почуттями.

The article covers the professional, scientific and artistic activity of Yulian Semenovych Zayats (1880–1971).The figure of Yulian Zayats remains a little-studied figure among Ukrainian jurists and artists. Studying at the Faculty of Law of the Lviv University in 1899–1904, Julian Zayats published in 1904 an article «Jusus fructus nominis» in the «Journal of Law and Economics». In 1907 this scientific work was finalized and defended at the Lviv University. In 1901–1902 he studied at the Faculty of Law of the Jagiellonian University and at the Krakow Academy of Arts.Since 1906 he had been working in the financial prosecutor's office in Lviv. In 1909 he received a scholarship from the Austrian Ministry of Education and Religion and completed an internship at the Faculty of Law of the University of Berlin in 1909–1912 to write a doctoral thesis as well as studied at the Berlin Academy of Arts. In Berlin, Julian Zayats prepared a doctoral habilitation thesis in Polish on the topic: «Jus jurandum in litem», which was submitted for defense to the Faculty of Law of the Lviv University in 1912. Due to the position of Polish university professors, as Julian Zayats notes in his autobiography, the text of the thesis was lost and the defense did not take place. During the First World War, as an officer of the Austro-Hungarian Army, he took part in hostilities and taught ballistics at the Military Artillery School in Budapest.After Poland's conquest of western Ukraine, he worked as a lawyer and taught Roman law at the Ukrainian Secret University in Lviv. He continued to work in the Polish state treasury again. At the request of Metropolitan Andrei Sheptytsky, he provided legal advice to him and the Greek Catholic Church as well as prepared an appeal to the League of Nations and the Vatican regarding the discriminatory policy of the Polish state towards the Ukrainian population during the so-called "pacification".During the interwar period he studied at the Lviv Conservatory and gave solo concerts in the cities of Western ...

The image of the author of artistic works and the image of art, the symbolism of the mystery of creation in Ukrainian emigration poetry, in particular in the works of Igor Kachurovsky, is a special artistic form. Emigrants in the conditions of world democracy observed the influence of totalitarian is montheart of the Ukrainian SSR. They understood that their artist he only opposition tovulgar socialist realism; it saves Ukrainian art, its European quality. Igor Kachurovsky understood this as a writer and as a literary scholar. The study of neoclassical forms of images in the emigrant poetry is temporal. The neoclassical dominants and honor to aesthetics of the world's cultural tradition (from ancient Greek to modern) are Igor Kachurovsky's poetry. The most vividly transmits the image of the author, a pilgrim, a lonere searcher of the world the collection of poems «In a Far Harbor» (1956). The book is dominated by the feeling of creator's loneliness in the background of a constantly changing world, ignoring art. The lyrical hero of the rhymed poems of Igor Kachurovsky felt himself a media of a complex and vividera with the need for a messiah, struggle and truth, opposition to good and evil, fatalism, sin and sacrifice, without soil and love, sin and hatred, immortality and struggle with God, as well as the role of fathers and foreigners for the author. Based on his experience in the Ukrainian SSR, in Europe and in America, the poet created unique figurative and symbolic models of philosophical comprehension of art and authorship, the wrestler and exile. The theme of creativity in his verses is realized through the connection of a prominent individual with nature, with his nativeland and with exotic lands, through the understanding of the opposition of a freeman, a poet and power. And therefore the image of a genius of the nationis the center of the neoclassical philosophy of the author, similarto the Aristotelian and Nietzschean. ; Образ автора мистецьких творів і образ мистецтва, символіка таємниці творення в ...

The paper casts light on the existential issues in the works of the Western Ukrainian émigré artists and writers of the interwar period, i.e. between WWI and WWII. These are Ivan Krushelnytskyi, Vasyl Khmeliuk, Galia Mazurenko, Oksana Liaturynska, Sviatoslav Hordynsky, and Volodymyr Havryliuk, who have become the main focus of interest in the paper. They had manifold talents, in other words – embodied universalism. The present paper hence points to the phenomenon of artist-émigré in the Ukrainian culture, showcasing the art universalism as a specifi c feature of the Ukrainian scene in different times. The refl ections of the Ukrainian writer Eugene Malaniuk in the article Late Generation were the motive behind the studies. To substantiate, the author shares that a foreign land was the reason for many people of different professions to devote themselves to literary activities. What is more, Malaniuk takes into consideration both positive and negative aspects of art universalism. In our view, emigration was a catalyst of creative processes. However, there were other reasons that had called for the literary activity of the artists. The main reasons for their turn to poetic creative work, namely those of personal character, motivated by the peculiarities of their artistic mentality, and «exterior» ones, forced by social and political circumstances, have been determined in the process of our study. The chronology of debuts and further publications of poetry collections by these authors have been traced. It has been proved that literary activity was not simply a situational delight for them. Various aspects of artistic contacts between the writers and the artists have been examined. The author devotes much attention to Sviatoslav Hordynsky's versatile creative work. He was a distinctive creator and promoter of the Ukrainian culture during the period between the world wars. Keywords: literature and fi ne arts interaction, writer-artist, poetry, emigration. ; Зосереджено увагу на питаннях екзистенції еміграційних та західноукраїнських митців-універсалістів міжвоєння (Іван Крушельницький, Василь Хмелюк, Галя Мазуренко, Оксана Лятуринська, Святослав Гординський, Володимир Гаврилюк). Обумовлено основні причини звернення цих художників до поетичної творчості (як особистого характеру, вмотивовані специфікою їхнього художнього мислення, так і «зовнішні», спровоковані суспільно-політичними обставинами). Акцентовано увагу на феномені митця-емігранта в українській культурі. Ключові слова: взаємодія літератури й образотворчого мистецтва, літератор- художник, поезія, еміграція.

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 publication aims to draw the attention of Ukrainian scholars and researchers of Ukrainian cultural heritage to study the work of a unique domestic artist of monumental and decorative art, whose name is included in the list of prominent figures of world heritage of the twentieth century - Alexander Saenko. O. Saenko's artistic heritage includes more than 500 works of painting, graphics and monumental and decorative art: decorative panels, carpets, tapestries, etc. But O. Saenko possessed the technique of straw inlay most perfectly. He subtly felt the diversity of sacred energies that give "joy to people." It was in the colors of straw that O. Saenko saw such energy.
O. Saenko's paintings are not only artistically perfect, but also the vast majority of them are filled with nationalpatriotic content. Among them, one of the most famous is the decorative painting "Kozak Mamai" (1928, 1936). The analysis of O. Saenko's paintings shows that they are deeply folk, and therefore perceived as modern in their content and style.

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.

The peculiarities of artistic activity in the context of the Soviet system of planned economy are considered. The institutional system of the art industry of the Soviet era, its functions, the range of priorities and the role assigned to the artist in this model are presented. The legislative and monopolistic influence of the state on the artistic process in the USSR, in particular through the structures of the Union of Artists and the Art Foundation, is highlighted.The centralized policy of the Soviet state in the art industry, carried out through a number of institutions and regulated by the decisions of the government, was motivated by the program's task of carrying "art to the masses". Accordingly, the system formed the specific status of the artist, guided by the slogan "Artist – for production!". The Soviet ideology has formed a corresponding demand – especially on unique works of monumental art for public objects, which was mainly handled by the Art Fundation as well as copied objects of "artistic crafts" for the population that was the departmental branch of "Ukrhudozprom". This increased the need for skilled decorative arts artists, for the preparation of which the state has developed a network of higher, secondary specialized education institutions.The system of the artistic industry of the Soviet model began to form during the 1920's, gained a clear organizational outline in the 1940's and was reformed in the 1960's. At the head of the system was the Union of Artists – the key organ in the hierarchy of the creative industry and the state instrument of centralized management of it. Participation in the Union opened the possibility of career growth through participation in exhibitions, obtaining favorable orders, obtaining honorary titles and awards. The Art Foundation subordinated to the Union performed economic and production functions, and the Artistic Councils, as the main censorship, determined the "ideological and artistic" quality of artistic production and approved the admission to exhibitions, ...

У статті розглянуто особливості мистецької діяльності в контексті радянської системи виробничих відносин – планової економіки. Представлено інституційну систему художньої галузі радянського зразка, її функції, коло пріоритетів та роль, яку в цій моделі влада відводила митцеві. Висвітлено директивний і монопольний вплив держави на мистецький процес в СРСР, зокрема через структури Спілки художників та Художнього фонду. ; The peculiarities of artistic activity in the context of the Soviet system of planned economy are considered. The institutional system of the art industry of the Soviet era, its functions, the range of priorities and the role assigned to the artist in this model are presented. The legislative and monopolistic influence of the state on the artistic process in the USSR, in particular through the structures of the Union of Artists and the Art Foundation, is highlighted.The centralized policy of the Soviet state in the art industry, carried out through a number of institutions and regulated by the decisions of the government, was motivated by the program's task of carrying "art to the masses". Accordingly, the system formed the specific status of the artist, guided by the slogan "Artist – for production!". The Soviet ideology has formed a corresponding demand – especially on unique works of monumental art for public objects, which was mainly handled by the Art Fundation as well as copied objects of "artistic crafts" for the population that was the departmental branch of "Ukrhudozprom". This increased the need for skilled decorative arts artists, for the preparation of which the state has developed a network of higher, secondary specialized education institutions.The system of the artistic industry of the Soviet model began to form during the 1920's, gained a clear organizational outline in the 1940's and was reformed in the 1960's. At the head of the system was the Union of Artists – the key organ in the hierarchy of the creative industry and the state instrument of centralized management of it. Participation in the Union opened the possibility of career growth through participation in exhibitions, obtaining favorable orders, obtaining honorary titles and awards. The Art Foundation subordinated to the Union performed economic and production functions, and the Artistic Councils, as the main censorship, determined the "ideological and artistic" quality of artistic production and approved the admission to exhibitions, the replication of industrial products or sales in public facilities.The main customer of artistic products was the state. Art became a segment of the Soviet planned economy along with the formation in 1940 of the Art Foundation of the USSR and its republican affiliates. In the department of the Art Foundation of the USSR there were a variety of enterprises – cooperatives, factories, workshops, and executed state orders.The artistic industry was posed by the state among the priority directions of the national economy such as metal rolling, machine building, production of haberdashery products.Features of the functionalization of the system are considered on the example of the development of the sphere of artistic textiles – on the scale of art crafts and individual creativity of artists.

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».

У статті на основі повісті «Ольга, дружина Пікассо» сучасної української письменниці Тетяни Сидоренко досліджено особливості художнього відображення творчого портрета художника зі світовою славою Пабло Пікассо. З'ясована архітектонічна специфіка твору (введення есхатологічних інтерв'ю з Пабло Пікассо та Ольгою Хохловою, залучення прийому ретроспекції), наголошено на важливій ролі екфразису (опис картини «Портрет Ольги в кріслі») в художньому моделюванні творчої манери художника. Зауважено, що хронологічний принцип подачі біографічного матеріалу, лаконічне відтворення суспільно-політичних подій початку ХХ століття сприяють художньому формуванню еволюції творчої майстерності художника, його поглядів на місце, роль і значення мистецтва в суспільному житті. Констатовано, що суттєвим доповненням багатогранної постаті Пабло Пікассо є введення письменницею відомостей про прикметні у творчій біографії митця виставки різних років, роботу над декораціями до балетів С. Дягілєва, роль гончарства в самовираженні майстра (як вияв нових граней таланту), а також епізоди особистого життя художника (одруження з балериною Ольгою Хохловою, стосунки з іншими жінками, які залишили помітний слід у його творчій біографії). Досліджено, що письменниця повно й різноаспектно представила творчу майстерню відомого художника, акцентувала на специфіці його праці над полотнами (робота з натурою, кольором, ідеєю, філософською та психологічною підосновою образу тощо). Т. Сидоренко важливість та поступальність кожного етапу творчості Пабло Пікассо підсилювала акцентами про стильову специфіку творів художника, мистецький «контекст» початку ХХ століття, описуючи емоційні дискусії з Матіссом, Браком та іншими творчими особистостями про манеру письма Пабло Пікассо – кубізм. Це важливі для компонування повісті й формування концепції образу талановитого художника етапи творчості, що увиразнюють його мистецьку самобутність, неповторність і оригінальність. ; The article, based on the short story "Olha, Picasso's Wife" by the modern Ukrainian writer Tetiana Sydorenko, explores the features of the art image of the creative portrait of Pablo Picasso, who is an artist with world fame. It was clarifed the architectonic specifcity of the work (the introduction of eschatological interviews with Pablo Picasso and Olha Khokhlova, involving a retrospective method), was noted the important role of ecfrasis (description of the painting "Portrait of Olga in an Armchair") in the artistic modeling of the artist's creative manner. It was observed that the chronological principle of biographical material and laconic reproduction of social and political events of the early twentieth century contribute to the artistic formation of the evolution of the artist's creative skill, his views on the place, role and signifcance of art in public life. It has been stated that a signifcant addition to Pablo Picasso's faceted fgure is the introduction by the writer the information about the exhibitions of different years that are noticeable in the artist's creative biography, the work on the sceneries for S. Diaghilev's ballets, the role of pottery in the expression of the master (like a manifestation of new facets of talent), as well as episodes of artist's personal life (marriage to the ballerina Olha Khokhlova, relations with other women who left a noticeable mark in his creative biography). It is proved that the writer fully and diversely presented the creative workshop of a famous artist, focusing on the specifcs of his work on canvases (work with nature, color, idea, philosophical and psychological background of the image, etc.). T. Sydorenko reinforced the importance and progressiveness of each stage of Pablo Picasso's work with help of accents on the stylistic specifcs of the artist's works and the artistic "context" of the early twentieth century. It was done by describing emotional discussions with Matisse, Braque and other art personalities about the writing style of Palo Picasso – cubism. These all are stages of creativity that are important for the layout of the story and the formation of the concept of the image of a talented artist, emphasize its artistic identity, originality and originality.

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.