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В данном издании автор рассматривает круг тем в живописи, которые входят в понятие пейзажа: это могут быть и изображения природы, и городских архитектурных ландшафтов, и индустриальных и сельских мотивов.

Природа глазами художника. Проблемы развития современного пейзажа

Available on request

<p><h2>About the founder</h2>
<p>
Alexander Kamensky (1922–1992) was a Soviet art historian, one of the fathers of the new art history of the Khrushchev Thaw. He defended artists accused of formalism, including Vladimir Favorsky, Martiros Saryan, Robert Falk, and Alexander Tyshler, coined the term “severe style,” and was the ideologist and co‑organizer of the landmark exhibition 30 Years of the Moscow Union of Artists at the Moscow Manege. His archive is a unique collection of documents covering art from the 1950s to the 1990s.</p>
<p> 

<h2>About the archive</h2>
<p>
The archive includes manuscripts and typescripts of articles and monographs by Alexander Kamensky, clippings from Soviet and international journals and papers, photographs and videos, personal correspondence and documents. A separate section is devoted to Kamensky’s correspondence with publishers, the Soviet Copyright Agency, and other Soviet institutions (Ministry of Culture; Ministry of Communications and Finance; USSR State Committee on Publishing, Printing, and Book Trade; etc). These documents offer insight into the publishing process in the Soviet Union, as well as the bureaucratic and economic aspects of a Soviet art historian’s work. The archive also includes internal correspondence of the Moscow Union of Artists that shows how the organization functioned and paper and journal clippings with critique of Kamensky’s works, including of an anti‑Semitic nature.</p>
<p> 

Kamensky’s major academic works include Private Views (1974), A Knight’s Feat. On the Sculptor Anna Golubkina (1978), and the albums Saryan (1968, 1987) and Konenkov (1962, 1975), preparatory materials for which are also included in the archive. It also contains Kamensky’s correspondence with Marc Chagall and negatives and reproductions of Chagall’s works, which Kamensky used in the preparation of his book Marc Chagall. An Artist from Russia (1991–1992), as well as materials relating to Chagall’s only visit to the Soviet Union in 1973.</p>
<p>

In the 1970s, Kamensky developed an interest in the work of Armenian artists (Martiros Saryan, Nikoghayos Nikoghosyan, Yervand Kochar, Minas Avetisyan, and Akop Akopyan, among others) and made an in‑depth study of the Armenian art tradition, which resulted in the publication of Studies on Armenian Artists (1979). The archive contains a large number of reproductions, exhibition catalogues of Armenian artists, and fiction and academic writings on Armenia and its art. 
</p>

About the founder

Alexander Kamensky (1922–1992) was a Soviet art historian, one of the fathers of the new art history of the Khrushchev Thaw. He defended artists accused of formalism, including Vladimir Favorsky, Martiros Saryan, Robert Falk, and Alexander Tyshler, coined the term “severe style,” and was the ideologist and co‑organizer of the landmark exhibition 30 Years of the Moscow Union of Artists at the Moscow Manege. His archive is a unique collection of documents covering art from the 1950s to the 1990s.
 

About the archive

The archive includes manuscripts and typescripts of articles and monographs by Alexander Kamensky, clippings from Soviet and international journals and papers, photographs and videos, personal correspondence and documents. A separate section is devoted to Kamensky’s correspondence with publishers, the Soviet Copyright Agency, and other Soviet institutions (Ministry of Culture; Ministry of Communications and Finance; USSR State Committee on Publishing, Printing, and Book Trade; etc). These documents offer insight into the publishing process in the Soviet Union, as well as the bureaucratic and economic aspects of a Soviet art historian’s work. The archive also includes internal correspondence of the Moscow Union of Artists that shows how the organization functioned and paper and journal clippings with critique of Kamensky’s works, including of an anti‑Semitic nature.
 

Kamensky’s major academic works include Private Views (1974), A Knight’s Feat. On the Sculptor Anna Golubkina (1978), and the albums Saryan (1968, 1987) and Konenkov (1962, 1975), preparatory materials for which are also included in the archive. It also contains Kamensky’s correspondence with Marc Chagall and negatives and reproductions of Chagall’s works, which Kamensky used in the preparation of his book Marc Chagall. An Artist from Russia (1991–1992), as well as materials relating to Chagall’s only visit to the Soviet Union in 1973.


In the 1970s, Kamensky developed an interest in the work of Armenian artists (Martiros Saryan, Nikoghayos Nikoghosyan, Yervand Kochar, Minas Avetisyan, and Akop Akopyan, among others) and made an in‑depth study of the Armenian art tradition, which resulted in the publication of Studies on Armenian Artists (1979). The archive contains a large number of reproductions, exhibition catalogues of Armenian artists, and fiction and academic writings on Armenia and its art. 


Alexander Kamensky archive

scan_2024_06-21_11_50-52.jpg

1960s

1970s

Painting

Lithuania

Monumental art

Naive art

Still life

Landscape

Postimpressionism

Nature

Soviet official art

Severe Style

Estonia

Nikulina Ol`ga

Author

Vint Toomas

Mentioned

Andronov Nikolai

Greku Mikhail

Pustovoit Sergey

Egoshin German

Kormashov Nikolai

Tyulenev Vitaliy

Repin Sergey

Shamanov Boris

Loshakov Oleg

Keskküla Ando

Orlov Igor

Mylnikov Andrey

Subbi Olev

Nasipova Tatyana

Sainchuk Aleksei

Dementyev Vadim

Cheponis Jonas

Природа глазами художника. Проблемы развития современного пейзажа

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