Forum

354 Items

The “Forum” heading contains research on a topic previously proposed by the editorial of the journal. The list of topics is posted at the beginning of the calendar year on the journal website.

All Items

Ilya V. Kuklinsky
Unknown drawing by V.I. Surikov from the collection of the Krasnoyarsk Regional Museum of Local Lore
86-95
https://doi.org/10.46748/ARTEURAS.2023.01.007
Irina P. Bedulina
Painting by V.I. Surikov in the Irkutsk Regional Art Museum named after V.P. Sukachev
44-53
https://doi.org/10.46748/ARTEURAS.2023.01.004
Tatyana A. Rezvikh
Development of a catalog of works by V.I. Surikov in the collection of the Krasnoyarsk Art Museum
96-109
https://doi.org/10.46748/ARTEURAS.2023.01.008
Vladimir V. Parshukov
Architectural and artistic features of the reconstruction projects of the Regional Committee of the All-Union Communist Party of Bolsheviks building in Novosibirsk
140-151
https://doi.org/10.46748/ARTEURAS.2022.04.010
Sergey E. Vinokurov
The tradition of studying stone carving art in the USSR: a view from the 21st century
72-81
https://doi.org/10.46748/ARTEURAS.2022.04.005
Лихуа Цзинь
Personal workshop of the V.M. Oreshnikov at the Ilya Repin Institute and its Chinese students
186-197
https://doi.org/10.46748/ARTEURAS.2022.04.014
Irina G. Devyatyarova
Artist Nikolai Mamontov in Ukhtpechlag (1936–1940): unknown page of creativity
106-119
https://doi.org/10.46748/ARTEURAS.2022.04.007
Tatyana V. Skubnevskaya, Olga Yu. Udovenko
Vadim Gulyaev: many-sided personality in art
162-171
https://doi.org/10.46748/ARTEURAS.2022.04.012
Vyacheslav N. Chimitov
Nikolay Gritsyuk and Konstantin Chernykh: on the issue of artistic strategies in late Soviet art
198-213
https://doi.org/10.46748/ARTEURAS.2022.04.015
Victoria I. Krylova
Graphics by G.S. Pashtov in the collection of the State Art Museum of Altai Krai
120-127
https://doi.org/10.46748/ARTEURAS.2022.04.008
Victoria A. Borunova
Theoretical and methodological approaches to the study of “severe style” and its manifestation in the works of Siberian artists on the example of a landscape
40-57
https://doi.org/10.46748/ARTEURAS.2022.04.003
Svetlana E. Prokopets
Comprehension of the Soviet past in the modern fine art of the Lugansk region
152-161
https://doi.org/10.46748/ARTEURAS.2022.04.011
Elena A. Mushnikova
Main stages of life and creativity Altai artist N.P. Ivanov (1923–1985)
128-139
https://doi.org/10.46748/ARTEURAS.2022.04.009
Elmira R. Akhmedova
The importance of the Soviet art school for the painting of Uzbekistan
214-225
https://doi.org/10.46748/ARTEURAS.2022.04.016
Svetlana M. Gracheva
All-Russian Academy of Arts: pages of history (1932–1947)
82-105
https://doi.org/10.46748/ARTEURAS.2022.04.006
Ludmila A. Budrina
Fabergé, Konovalenko and the Ural’s stonecutters: myth and history
58-71
https://doi.org/10.46748/ARTEURAS.2022.04.004
Yuanpeng Huang, Jie Wei
The legacy of the artist Su Gaoli: creative method, main themes and plots
172-185
https://doi.org/10.46748/ARTEURAS.2022.04.013
Dina I. Akhmetova
Bulat Galeev's artistic “orbital” in Kazan in the 1960s – 1980s
74-83
https://doi.org/10.46748/ARTEURAS.2022.03.006
Tamara G. Chudinovskaya
Creativity of Tatiana Glebova in the current of the “sacralized plasticism”: about one picture
226-233
https://doi.org/10.46748/ARTEURAS.2022.03.019
Evgeny P. Alekseev
The city of the future “Peshegrad” by Leo Epple: perception and evaluation of contemporaries
52-63
https://doi.org/10.46748/ARTEURAS.2022.03.004
Nigora R. Akhmedova
Painting of the Republics of Central Asia in search of renewal of the artistic language (1960s)
64-73
https://doi.org/10.46748/ARTEURAS.2022.03.005
Lyubov V. Koposova
The path to abstraction through the mode of design thinking: artistic experiments by Veniamin Stepanov
158-167
https://doi.org/10.46748/ARTEURAS.2022.03.013
Olga I. Kober
About the features of the avant-garde art of Orenburg of the second half of the 20th century: axiological context
128-141
https://doi.org/10.46748/ARTEURAS.2022.03.011
Elena A. Ryumina
Expansion of space: continuity in the development of the idea of space-time between the first and second waves of the Russian avant-garde
190-205
https://doi.org/10.46748/ARTEURAS.2022.03.016
Tatyana P. Zhumati
The fate of the “second avant-garde” in the province: the practice and legacy of Sverdlovsk informal artists of the 1960s – 1980s in the assessments of the professional “expert community”
120-127
https://doi.org/10.46748/ARTEURAS.2022.03.010