engleski

What is Artistic Form? Munich-Moscow 1900-1925

From the 1880’s till the outburst of the First World War, Germany represented an attractive pole for the young Russian students of the history and theory of art and architecture. The main Russian art historians of the first half of the 20th century shared a formative experience in Germany and particularly in Munich, where they became acquainted with the theories of Konrad Fiedler, Theodor Lipps, August Schmarsow, Cornelius Gurlitt, Adolf Hildebrand, Heinrich Wölfflin and Paul Frankl. The aesthetic theories of the German “formalist school”, the treatises on Raumkunst, the Einfühlungstheorie were to be quickly absorbed and endorsed by Aleksandr Gabrichevsky, Aleksej Sidorov, Vladimir Favorsky, Igor’ Grabar and Mikhail Alpatov. In the years following the Revolution, these scholars were particularly active in disseminating German texts and theories in Russia, and their scientific and cultural activity in the twenties and thirties is today considered as a fundamental scholarly endeavour in establishing a modern iskusstvovedenie [the discipline of art history] in the Soviet Union. The essay explains how essential the German theoretical studies were in the formation of the Russian artistic, architectural and in a wider sense aesthetical culture between the 1910’s and 1930’s: a repercussion that has often been neglected but was simply latent. We cannot talk about a specific stylistic influence, about the migration of a “taste” for a specific trend, for specific artistic or architectural styles. On the contrary: this influence can be traced better by following a broader theoretical discourse that, in a paradigmatic way, affects the very foundations of artistic production: the notion of space in figurative arts, or better, the problem of the spatiality of the artistic form [Raumkunst, prostranstvennost’ formy].

russian avant-garde, space, architecture

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