A.V. Chayanov was primarily an agrarian economist, but he also possessed encyclopedic interests and knowledge and wrote a series of articles on the history of art, which reflect his peculiar sociology of art. This article is a review of the collection of works which include articles written by this outstanding social thinker. The author considers that Chayanov's articles on the history of collecting artwork in Moscow and on the history of West-European engraving show the original features of his sociological interdisciplinary analysis. Chayanov studied various aspects of social life — history and economics, art and culture — to identify the historical-social types of collectors of fine artwork, the impact of social crises on the nature of collecting, the problems of elitism and egalitarianism in art, and the directions of people's cultural development. All of these issues are still relevant to contemporary studies of art.
: The article analyzes the features of Byronism and Georgesandism as sociocultural myths that arose in the post-revolutionary era and embodied the totality of socio-aesthetic gender representations. On the basis of the historical-typological approach, taking into account the trends of modern comparative studies, the origins of the gender opposition of male and female — the Hero and the Heroine — are regarded in the poetics of personified myths — Byronism and Georgesandism, which acquired an all-European scale in European culture of the first half of the 19th century. At the Enlightenment stage of mastering the specifics of the intimate and the public, the development of the ideas of civil society, the destruction of the paradigms of mental and universal laws of aesthetics, in public life and literature of the 18th century there was an increase in the gender consciousness of society. In the article it is correlated with the French tradition — the sentimentalist novel by J.-J. Rousseau Julia, or the new Eloise and the romantic concepts of the hero and the heroine in the works of Germain de Stael, where the conflict, antithesis, dichotomy of the feminine and the masculine began to be artistically meaningful from the standpoint of social and psychological egalitarianism. It is proved that Byronism and Georgesandism were complementary and oppositional to each other as socio-aesthetic currents, systems, paradigms, myths, in which variously interpreted skepticism and the individualistic concept of the Hero, the poet, are opposed to optimism and utopia, the feminine myth of the Heroine — in the works and biography of George Sand. The gender originality of typologically related romantic value ideas is considered: aspiration for the absolute, spiritual maximalism with a clear priority of the male myth in the image of Byron and his work — and the female, socialistically marked in George Sand. Biographical and biographically related material, the work of each in the first half of the century formed the basis of sociocultural and romantic symbolizations that characterize and form the gender specificity of the text of romantic culture.
