Last name and two letters: about the life and work of the sculptor-decorator David Weinberg

Abstract

The sculptural decoration of the Opera House in Ekaterinburg, one of the city's most notable architectural monuments, has not been the subject of a thorough art history study. In scientific literature, the sculptor's name is often mentioned only briefly and with errors. This article presents the first art history analysis of the frieze and sculptural group on the attic of the Ekaterinburg Opera House, using a comparative method. Through archival documents, these monuments have been accurately attributed. Using the historical and biographical method, the milestones in the life of their creator, sculptor and decorator David Weinberg, have been reconstructed. Weinberg's name is now being introduced into scientific circulation. It has been found that the decor of the Opera House is heavily influenced by neoclassical examples such as the frieze of the Parthenon and the paintings of Jacques-Louis David. The frieze features muses, easily recognizable by their characteristic attributes, walking along and crowning the building. Research into pre-revolutionary reference books and periodicals in the National Electronic Library has revealed the beginnings of Weinberg's creative path, as well as his original works in other cities such as Omsk and Moscow, where they were displayed at major industrial exhibitions. The digital State Catalogue of the Museum Fund of the Russian Federation has allowed for the determination of Weinberg's last place of work in Moscow. As a result of this study, the sculptural decoration of the Ekaterinburg Opera House has been reliably attributed for the first time, and the author of the sculptural and decorative works at the First West Siberian Industrial Exhibition in Omsk has been identified. The collection of materials has provided a valuable evaluation of the work of D. Weinberg and his significance in the history of art in the early 20th century.