Issues of of Russian Culture

obligatory courses

Basic knowledge in humanities.

Presentation of main trends in Ruthenian and Russian art between 10th and 20th century in European context, with particular emphasis on its originality and novelty.

1. Old-Ruthenian art: Orthodox church architecture, frescos, mosaics, iconostasis. Origin and features of iconic painting. Great masters of iconic painting (Theophanes the Greek, Andrei Rublev, Dionisy). New trends in iconic painting of 17th century (Simon Ushakov). Parsuna

2. 18th century – the significance of Peter the Great's reforms for the development of art. Classicism in Russian painting: portrait painting (I. Nikitin, A. Matveyev, F. Rokotov, V. Borovikovsky et al.), historic painting (A. Losenko), the emergence of landscape painting (Semyon Shchedrin, F. Alekseyev).

3. Painting of the first half of 19th century. Romantic portrait (O. Kiprensky), Landscape painting (Silvestr Shchedrin) and genre art (A. Venetsianov and his school).

4. Works of K. Bryullov (The Last Day of Pompeii) and A. Ivanov (The Appearance of Christ Before the People).

5. Emergence of Critical Realism – works of F. Fedotov.

6. Marine art: I. Aivazowsky and his „marine tales”. Romantic trends in his marine paintings.

7. Painting of the second half of 19th century. The rebellion of the fourteen (Artel of Free Artists). Emergence of the Society for Travelling Art Exhibitions (assumptions, representatives). Works of I. Kramskoi and V. Perov.

8. Works of I. Repin (thematic and genre diversity). Historic painting (V. Surikov i V. Vasnetsov). Military art (V. Vereshchagin).

9. Landscape painting by Peredvizhniki: A. Savrasov, I. Shishkin, I. Levitan, A. Kuindzhi.

10. Art at the turn of 19th and 20th centuries. Crisis of the Society for Travelling Art Exhibitions. Emergence of the group "Mir Iskusstva" (assumptions, representatives, the role of S. Diaghilev). Works of V. Serov.

11. Symbolism and Modernism in Russian arts (M. Vrubel). Russian Impressionist painters (K. Korovin i I. Grabar). Rebellion of young artists against their predecessors' art (Blue Rose art group et al.).

12. Emergence of abstract art (V. Kandinski). Suprematism (K. Malevich).

13. Constructivism (V. Tatlin, A. Rodchenko). Art of Soviet Russia and the Soviet Union – Socialist Realism (A. Gerasimov, A. Deyneka).

1. M. Ałpatow, O sztuce ruskiej i rosyjskiej. Tł. A. Podsiadło. Warszawa 1975;

2. P. Evdokimov, Sztuka ikony. Teologia piękna. Tł. M. Żurowska. Warszawa 1999;

3. L. Bazylow, Historia nowożytnej sztuki rosyjskiej. Warszawa 1986;

4. J.H. Billington, Ikona i topór. Historia kultury rosyjskiej. Tł. J. Hunia. Kraków 2008;

5. Populârnaâ chudožestvennaâ enciklopediâ. Moskva 1989, t. 1 – 2;

6. Russkaâ živopis' XIV – XX vekov. Enciklopediâ. Moskva 2002;

7. F. Roginskaâ, Tovariŝestvo peredvižnyh hudožestvennyh vystavok. Moskva 1989;

8. Avangard, ostanovlennyj na begu. Moskva 1989;

9. A. Dmitrenko, E. Kuznecova, O. Petrova, N. Fedorova, 50 kratkih biografij masterov russkogo iskusstva. Leningrad 1970;

10. Enciklopediâ russkoj živopisi. Moskva 1999.

After completing the course, students:

[knowledge]

- possess basic knowledge of Russian painting history, from old-Ruthenian times until 20th century;

- know main trends in Russian painting as well as representatives of each trend;

- know the greatest works of the selected representatives of Russian painting, including iconic painting;

- know and understand the origin and culture-specific traditions of Russian art;

- possess the knowledge of of the most important museums of Moscow and St. Petersburg.

[skills]

- can define and characterize main trends in Russian painting;

- can characterize works of the selected representatives of Russian painting;

- can recognize and provide an elementary interpretation of the selected works of Russian painters.

[social competences]

- understand the necessity to deepen and broaden their knowledge of of Russian painting;

- are aware of the uniqueness of Russia's cultural heritage and its significance for the world culture;

- understand the necessity to develop their aestetic sensitivity and the point of getting to know the works of both both old and modern art.

Final written test (number of questions: 23; maximum number of points: 55; 3,0 – points scored: 35-30; 3,5 – points scored: 40-36; 4,0 – points scored: 45-41; 4,5 – points scored: 50-46; 5,0 – 55-51; 5! – the student should obtain the maximum number of points; moreover, they should demonstrate the skill of interpretation of works of art on their own and justify their standpoint).

2 ECTS (seminar – 30 hrs; preparations for the classes and test – 30 hrs).

The student has the right to 2 unexcused absences, each subsequent one requires justification. The lecturer decides on the recognition of absence.

Exceeding excused and unexcused absences by 50% of classes may be grounds to fail the course.

The conditions for passing the course on the resit exam are the same as on the ordinary of exam.

If it is not possible to conduct classroom classes, classes will be conducted using distance communication tools, most likely Google Classroom and others recommended by the University of Warsaw.

not applicable