<p class="p1">Due to the expansion of open storage, from August 3 Garage Library will no longer be located in the Seasons of the Year pavilion. The new location and opening date will be announced later.</p>

Please note

<p>On&nbsp;Wednesday July 29, the Museum and Library will be&nbsp;closed. Caf&eacute; and Shop will be&nbsp;open until 15:30.</p>

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Каталог произведений, имеются пометки и небольшие повреждения по краям. Размер в закрытом виде: 25,5 × 17 см. Размер в открытом виде: 25,5 × 32,5 см.

Минас Аветисян

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

Разработка статьи «Новый угол зрения». Машинописные листы, имеются пометки и следы от скрепок, на пятой странице имеется вклейка с корректным вариантом текста. Размер каждого листа: 30 × 21 см. Размер пятой страницы: 33 × 21 см.

Текст Александра Каменского «Жизнь Минаса Аветисяна оборвалась столь внезапно, что...»

Разработка статьи: чистовой вариант, имеются пометки от руки. Машинописные листы. Размер каждого листа: 30 × 21 см.

Вариант статьи Александра Каменского «Новый угол зрения»

Разработка статьи с пометками и автографом, имеется посвящение Генриху Игитяну. В книгу «Этюды о художниках Армении» статья вошла под названием «Прошлое, настоящее, будущее». Машинописные листы. Размер каждого листа: 30 × 20,5 см. Страница 34 имеет вклейку с дополнением, размер: 44,5 × 20,5 см.

Прошлое, современность, будущее

Текст доклада Александра Каменского на английском языке для II Международного симпозиума по армянскому искусству. Размер в закрытом виде: 20 × 14,5 см. Размер в открытом виде: 20 × 29 см.

Alexander Kamensky. The Stylistic Evolution of Armenian Painting in the 1960s and 1970s

Заслуженный художник Армянской ССР Минас Аветисян

Дом художника Армении

Yerevan

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Минас Аветисян

Details