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Type of publication: Straipsnis / Article
Author(s): Селивачев, Михаил
Title: «Живые вещи» Н. Гоголя: искусство и предметная среда в его произведениях
Other Title: “Live things” of Nicolas Gogol: art and artificial surrounding in his works
Is part of: Meno istorija ir kritika, 2011, nr. 7, p. 208-216
Date: 2011
Keywords: Gogol’s texts;Architecture;Artificial surrounding;Art
Abstract: The report reveals the significance of the author of Dead souls as a predictor of several new artistic trends and as a pioneer in the development of scientific аrt history in Russian Empire. It was in Gogol’s texts that the “live things” became important “personages”, sometimes much more expressive, than the acting heroes themselves. But even the best critics, such as Vissarion Belinski or Vladimir Stasov, initially did not accept his historical and theoretical works about art, architecture, geography etc., supposing them to be naïve and juvenile. One may say that the “live things” were obscured by the shadow of Dead souls for too long. Nevertheless, an artistic language, created by Gogol, had a strong influence not only on his contemporaries, but also on the new generations of intellectuals, even at a greater scale, especially in the second half of 20th century, the time of Marc Chagall and Salvador Dali, when Gogol became comprehended and famous all over the world. Special attention is devoted to Gogol’s thoughts on art. He appreciated forms, which emerged in the framework of Gothic, Islamic, Indian art, while his attitude to Byzantine, Chinese, Renaissance styles was rather sceptical. Gogol proposed the first explanations, why the kitsch phenomenon is so popular (though such a notion was not in use at his time). He is the predecessor of some new concepts, which were later embodied into the poems of acmeist circle, images of Pablo Picasso, several Skansen- and Disneyland-like projects. The idea and the plot of the novel Portrait resembles the Portrait of Dorian Grey, which was written 50 years later. Gogol created the main signs and images of Ukrainian world. Thanks to this author, Ukraine became a sort of Piemont for all of the Russian Empire. Ultimately, he provided an aphoristic definition of the Christian Art, where the seeds of creation are hidden, but not destroying.
Appears in Collections:Art History & Criticism / Meno istorija ir kritika 2011, nr. 7

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