On the semantics of spatial constructions in Russian fine art of the 18th century. From the Prospects by M.I. Makhaev to the views by F.Ya. Alekseev
https://doi.org/10.28995/2073-6401-2018-3-111-123
Abstract
The article aims to show the evolution of the spatial concept in the era of baroque and classicism in the Russian urban form of the 18th century. It is noted that in the wake of the aggravation of attention to illusiveness, they did not forget about the content side of the matter.
Of particular relevance was the depth motive, which, with all the commonality, conditioned the rules of perspective, has a different embodiment in the drawings of M.I. Makhaev, modeling the grandiose space of the ideal imperial city, and the paintings of F.Ya. Alekseev, who in the observable space gives a visual representation of the history of St. Petersburg with its main mythologemes.
Special attention is paid to the Neva river, which connects spatial plans and the length of time, a specific area and an image of the ideal European city into a single ensemble, worthy of its content as a phenomenon of the Enlightenment.
Keywords
the Enlightenment,
spatial concept,
semantics,
perspective,
urban view,
engraving,
baroque,
classicism
About the Author
Andrey A. Karev
Lomonosov Moscow State University
Russian Federation
Russian Federation
Dr. in Art Studies, professor
bld. 27, bldg. 4, Lomonosov av., Moscow, 119192
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Review
For citations:
Karev A.A. On the semantics of spatial constructions in Russian fine art of the 18th century. From the Prospects by M.I. Makhaev to the views by F.Ya. Alekseev. RSUH/RGGU BULLETIN. Series Philosophy. Social Studies. Art Studies. 2018;(3):111-123. (In Russ.) https://doi.org/10.28995/2073-6401-2018-3-111-123
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