Dedication exhibition “My legacy is Dulevsky porcelain”: analytical review
Выпуск № 4 (35) 2024 журнала "Искусство Евразии"
html (Russian)
pdf (Russian)
JATS xml (Russian)
html (Russian)
pdf (Russian)
JATS xml (Russian)

Keywords

Dulevsky porcelain, porcelain collection, Omsk Regional Museum of Fine Arts, analytical review, thematic and exhibition plan, attribution, sculpture, Asta Brzezitskaya, Galina Sorkina

Categories

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

How to Cite

Golsky, I.A. (2024) ‘Dedication exhibition “My legacy is Dulevsky porcelain”: analytical review’, The Art of Eurasia, (4), pp. 300–315. doi:10.46748/ARTEURAS.2024.04.018.

Индексация статей

Белый списокScience IndexDimensionsDOAJOpenAlexScilitКиберЛенинкаEBSCOCrossrefDataCiteInternet Archive ScholarGoogle Scholar
Open Access
Антиплагиат

* Not an advertisement

Abstract

The article reviews the exhibition organised as part of the Year of the Teacher and Mentor 2023 on the 75th anniversary of the birth of Lyudmila R. Vedernikova, the curator of the ceramics and glass collection of the Omsk Regional Museum of Fine Arts names after M.A. Vrubel. The exhibition in Omsk presented a collection of Dulevsky porcelain, assembled in Moscow by a student as a gift to a teacher and as a sign of grateful memory. The author of the review delineated the purpose, relevance, and uniqueness of the exhibition project, elucidated its conceptual framework, conducted a critical analysis of the thematic and exhibition plan, and provided a detailed examination of the key exhibits. The exposition focused on the friendship of L.R. Vedernikova and sculptors of the Dulevsky Porcelain Factory — Asta Brzezitskaya and Galina Sorkina. For the first time since 1987, the sculptural composition “Cactusmen” by G.I. Sorkina was shown as a planter for live flowering cacti against the background of the author's sketches, which served to elucidate the conceptual underpinnings of the work. As a key exhibit, the sculpture “Tatar Dance” by A.D. Brzezitskaya was highlighted, presented after attribution with the indication of the name and role of the dancer, brief biographical information.

DOI: https://doi.org/10.46748/ARTEURAS.2024.04.018

References

  1. Musina, R.R. (2017) Dulevsky porcelain. Kuznetsovs: 1832–1919. Moscow: Dulevo Porcelain Factory. (In Russ.)
  2. Andreeva, L.V. (1975) Soviet porcelain, 1920–1930. Moscow: Sovetskiy khudozhnik. (In Russ.)
  3. Kuvshinov, K. (ed.) (1975) The tale of Dulevsky porcelain. Moscow: Moskovsky Rabochy. (In Russ.)
  4. Konovalov, A.D. (1980) Dulevsky porcelain. Moscow: Legkaya industriya. (In Russ.)
  5. Anon. (1982) Dulevo Porcelain Factory named after the newspaper “Pravda”. Moscow: Soyuztorgreklama. (In Russ.)
  6. Kozlov, V.D. (1978) Dulevo Porcelain Factory named after the newspaper “Pravda” [Catalogue]. Moscow: s. n. (In Russ.)
  7. Anon. (1963) Artistic porcelain Dulevo. 1918–1963 [Catalogue]. Moscow: s. n. (In Russ.)
  8. Safonova, M.A. (2019) Museum of Dulevo Porcelain, vol. 1: Sculptors. Moscow: Dulevo Porcelain. (In Russ.)
  9. Nasonova, I.S. and Nasonov, S.M. (comps.) (2008) Asta Brzezitskaya. Moscow: Among Collectors Publ. (In Russ.)
  10. Golsky, I.A. (2021) ‘Tatar Dance. Attribution of the sculpture thanks to the network campaign #YearofBallet’, in Simonova, I.L. (ed.) December Dialogues, issue 24 [Conference proceedings]. Omsk: Omskblankizdat, pp. 224–227. (In Russ.)