October 28, 2014 (Tuesday)
Conference participants registration
10:00–10:30, The State Hermitage Museum, The Hermitage Theatre Foyer (St. Petersburg, Dvortsovaya embankment, 34, The Hermitage staff entrance)
1.1. Plenary
“Classical Antiquity — Life through the Ages, and the Age of Topicality”
10:30–17:00, The State Hermitage Museum, The Hermitage Theatre (St. Petersburg, Dvortsovaya embankment, 34, The Hermitage staff entrance)
Time limit for papers — 15 minutes
Languages: Russian, English (simultaneous translation)
Chairperson: Dr. Anna A. Trofimova
1.1.1. Prof. Mikhail B. Piotrovsky, Director General of the State Hermitage Museum, Corresponding member of the Russian Academy of Sciences. Opening welcome speech
1.1.2. Prof. Nikolai M. Kropachev, Rector of St. Petersburg State University. Opening welcome speech
1.1.3. Academician Sergei P. Karpov, Dean of the Faculty of History of Lomonosov Moscow State University. Opening welcome speech
1.1.4. Prof. Abdullah Kh. Daudov, Director of the Institute for History of St. Petersburg State University. Opening welcome speech
1.1.5. Prof. Ivan I. Tuchkov (Lomonosov Moscow State University, Russia), Elena K. Zhukova (Director General of the “Russian World of Art” Fund, Russia), Svetlana V. Maltseva (St. Petersburg State University, Institute for History, Russia). Presentation of The Papers of the 4th International Conference “Actual Problems of Theory and History of Art”
1.1.6. Dr. Anna A. Trofimova (State Hermitage Museum, Head of the Department of Classical Antiquities, Russia) Classical Legacy and Its Influence as Focused in Today’s Studies in Graeco-Roman Art History
1.1.7. Prof. Dora Katsonopoulou (President of the Institute for Archaeology of Paros and the Cyclades, Greece) “Skopas of Paros, and His World”: an Introduction to the Proceedings volume of the Third International Conference on the Archaeology of Paros and the Cyclades
12:00–12:30 Coffee-break, The Hermitage Council Hall
1.1.8. Nadia C. Jijina (State Hermitage Museum; St. Petersburg State University, Russia) Ebb and Flow — Type in Art and Its Destiny at the Periphery of Oikoumene
1.1.9. Antonio Corso (Centro Studi Vitruviani, Fano, Italy) The Birth and the Development of the Idealized Concept of Arcadia in Classical Greek Art
1.1.10. Felix I. Ter-Martirosov (National Academy of Sciences of Armenia, The Erevan State University, Armenia) Clarification of the Term “Hellenistic Art” (Based upon Art of the Principal Centers of Classical World and Ancient Armenia)
1.1.11. Martin Büchsel (Goethe University in Frankfurt am Main, Germany) Ancient and Carolingian Art
1.1.12. Anna V. Zakharova (Lomonosov Moscow State University, Russia), Svetlana V. Maltseva (St. Petersburg State University, Russia) Byzantium as Christian Antiquity
1.1.13. Armen Iu. Kazarian (Research Institute of Theory and History of Architecture and Town Planning of Russian Academy of Architecture and Construction Sciences; State Institute for Art Studies, Russia) Appeal to Classical Antiquity: the Order Motif Presented at the Façades of Mediaeval Temples
1.1.14. Valentin A. Bulkin (St. Petersburg State University, Russia) Novgorodian Style in the Old-Russian Architecture of the 13th – 15th Centuries
14:30–15:00 Coffee-break, The Hermitage Council Hall
1.1.15. Ivan I. Tuchkov (Lomonosov Moscow State University, Russia) Apollo at a Villa: Apollo’s Image in the Art of Renaissance
1.1.16. Ol’ga G. Makho (State Hermitage Museum; St. Petersburg University for Cinematography and Television, Russia) Originals and Imitations of the Art of Classical Antiquity in Isabella d’Este’s Grotta
1.1.17. Elena A. Efimova (Lomonosov Moscow State University, Russia) The Renaissance Drawings with Architectural Fantasies on Antique Themes: Their Origins, Evolution, and Semantic
1.1.18. Edmund Richardson (University of Durham, United Kingdom) The Ghostly Greeks: Art, History and Misdirection in the 19th Century
1.1.19. Vadim G. Bass (European University at St. Petersburg, Russia) ‘Russian Palladio’: a Mechanism of Adoption of Classics in the 20th Century Russian Architecture
1.1.20. Anatolii V. Rykov (St. Petersburg State University, Russia) Classical Antiquity, Avant-Garde, and Totalitarianism. On Metamorphology of the Present-Day Art
1.2. “Flickers of Classical Antiquity in St. Petersburg”
17:00–23:00, A coach tour over the city organized and prepared by art historians of St. Petersburg State University and the State Hermitage Museum
17:15–17:45 – The Church of Our Saviour on Blood
18:00–19:30 – Sts. Peter and Paul’s Fortress and Cathedral
20:00–20:30 – St. Isaac’s Cathedral Colonnade
21:30 – The Spit of Vasilievsky Island
22:30 – The Smolny Cathedral
October 29, 2014 (Wednesday)
2.0. 11:00–12:00. – Excursion to the Art Restoration and Storage Centre of the State Hermitage “Staraya Derevnya” (in English). Departure from the hotel at 10:00
2.1. Session I “Classical Antiquity and the World around Hellas”
10:30–16:30, The State Hermitage Museum, Council Hall (St. Petersburg, Dvortsovaya emb., 34, The Hermitage staff entrance)
Time limit for papers — 15 minutes
Working languages: Russian, English
Chairpersons: Anna A. Trofimova, Nadia C. Jijina
2.1.1. Ekaterina A. Druzhinina (St. Petersburg State University, Russia) Polychrome or Tetrachrome? Colour in Greek Painting of the 5th–4th Centuries BC as Supervenes from Written Sources (Plin. Hist. Nat. XXXV, 50; Cic. Brut. XVIII, 70, Emped. В 23 DK)
2.1.2. Elena L. Ermolaeva (St. Petersburg State University, Russia) Ancient Greek Parody Convivium Atticum and Mosaics in the Style of “Asarotos Oikos” (“Unswept Floor”)
2.1.3. Andrei I. Larionov (St. Petersburg State Art and Industry Academy named after A. Stieglitz, Russia) Mosaic from Aldborough, Boroughbridge, North Yorkshire, UK: the Problem of Its Authenticity
2.1.4. Il’ia V. Palaguta (St. Petersburg University of Humanities and Social Sciences, Russia) Imagery and Written Sources of Classical Antiquity and Interpretation of Prehistoric European Art — a Solution to the Problem
2.1.5. Aleksander M. Butiagin (State Hermitage Museum; St. Petersburg State University, Russia) Art Pieces as Mass Archaeological Material: Fragments of Frescos from Villa Arianna (Excavations by the Hermitage Expedition)
2.1.6. Vladimir P. Kolosov (State Hermitage Museum, Russia) Formation of the Doric Architectural Order in the Light of the Present-Day Archeological Materials
2.1.7. Anna A. Trofimova (State Hermitage Museum, Russia) A Roman Portrait Metamorphosis: the “Sallust” Bust from the Hermitage Collection
2.1.8. Iurii A. Vinogradov (St. Petersburg Academic Institute for the History of Material Culture, Russia) A Large Sarcophagus from Myrmekion: Reading the Semantics of Imagery
2.1.9. Nadezhda A. Nalimova (Lomonosov Moscow State University, Russia) A Dispelled Genre: Tradition of Multi-Figured Sculptural Offerings in Classical Greece
Presentation of the Posters:
Time limit for each presentation — 5 minutes
2.1.10. Ekaterina N. Vorontsova (Lomonosov Moscow State University, Russia) The Ara Pacis Reliefs, and Their Artistic Composition
2.1.11. Elizaveta P. Grigorieva (Lomonosov Moscow State University, Russia) A Comparative Analysis of the Reliefs from Trajan’s and Marcus Aurelius’s Triumphal Columns in Rome
2.1.12. Aleksandra E. Medennikova (Lomonosov Moscow State University, Russia) Decorative Ensemble of San Marco Villa in Stabiae
2.1.13. Petr A. Samoilov (Lomonosov Moscow State University, Russia) Forum Traiani
13:00–14:00 Break
2.1.14. Dora Katsonopoulou (Institute for Archaeology of Paros and the Cyclades, Greece) Pathos versus Ideal in Greek Sculpture of the 4th Century BC
2.1.15. Erini Panou (Hebrew University of Jerusalem, Israel) The “Signum Harpocraticum” in Religious Art
2.1.16. Dmitrii S. Vas’ko (State Hermitage Museum; St. Petersburg State University, Russia) Two Kerch Style Pelikai in the Collection of the State Hermitage Museum
2.1.17. Medea M. Margoshvili (Lomonosov Moscow State University, Russia) Round Sculpture in the Context of the Late 4th Century Greek Funerary Plastic Arts
2.1.18. Boris D. Zashliapin (St. Petersburg State University, Russia) “Throne of Claudius”: on Interpretation of Allegorical Relief from Cerveteri
2.1.19. Tat’iana S. Tereshchenko (St. Petersburg State University, Russia) Images of the Others, and Dichotomy “we–they” in Ancient Greek Art
2.1.20. Elena N. Dmitrieva (State Hermitage Museum, Russia) “Centuria Séptima” of Impronte Gemmarie dell’Instituto, and the Hermitage Engraved Gems from the North Pontic Area Excavated in the mid-19th Century
2.1.21. Andrei V. Petrov (St. Petersburg State University, Russia) Magic Gems: Traditions and Syncretism
2.1.22. Dmitrii P. Aleksinskii (State Hermitage Museum; Russian Christian Academy for the Humanities, Russia) Perseus’s Harpe: Iconographic Metamorphoses of Old Weapon
2.2. 14:00, 15:00, 16:00 – Excursion to the Art Restoration and Storage Centre of the State Hermitage “Staraya Derevnya” (in Russian)
2.3. Session II “Russian Art of the 18th Century. Antique Fantasy of the Enlightenment”
10:00–14:30, St. Petersburg State University, Faculty of Liberal Arts and Sciences — The Bobrinskii Palace (St. Petersburg, Galernaya str., 58–60, Litera А)
Time limit for papers — 15 minutes
Working languages: Russian, English
Chairpersons: Tat’iana V. Il’ina, Ekaterina Iu. Staniukovich-Denisova, Anastasiia S. Iarmosh
2.3.1. Tat’iana V. Il’ina (St. Petersburg State University, Russia) Studying Antique Motifs in Russian Art of the 18th Century. In memoriam of Igor’ Riazantsev
2.3.2. Vladimir A. Abramenko (Rostov State Transport University, Russia) Antique Images in Public Thought of Russia in the 18th – Beginning of the 19th Centuries (on the Example of Notions about the Republic of Novgorod)
2.3.3. Iuliia I. Chezhina (St. Petersburg State University, Russia) History of Horse: Ancient Idea as Interpreted in the Equestrian Statue of Peter I by Bartolomeo Carlo Rastrelli
2.3.4. Sergei V. Klimenko (Moscow Institute (State Academy) for Architecture, Russia) The Theme of Triumph in the Works of I. Korobov and I. Michurin. Interpretation of the Tradition of Antiquity in European Architecture of the 17th – First Half of the 18th Centuries
2.3.5. Iuliia G. Klimenko (Moscow Institute (State Academy) for Architecture, Russia) From Ancient Mausoleums to Rotondas of the Classicist Period: Genesis of Shapes and Constructions
2.3.6. Aleksei N. Iakovlev (State Institute for Art Studies, Russia) Russian Classicist Triaxial Centric Churches and Their European Prototypes
2.3.7. Ol’ga V. Baeva (Southern Federal University, Russia) “A Good Cathedral for the Tauride Colonists”: the Architecture of Classicism in Nakhichevan-on-Don (Late 18th — the First Half of the 19th Centuries)
2.3.8. Elena K. Blinova (Herzen State Pedagogical University; I. Repin St. Petersburg State Academy Institute of Painting, Sculpture and Architecture, Russian Academy of Arts, Russia) Architectural Order in St. Petersburg Interiors
2.3.9. Elena V. Karpova (State Russian Museum, Russia) Sculptural Portraits à l’antique: to the Problem of Iconographic Identification
12:30–13:00 Coffee-break
2.3.10. Ekaterina E. Kolmogorova (Lomonosov Moscow State University, Russia) Antique Motifs in Russian Family Portraiture of the 1750s — Early 19th Century
2.3.11. Valeriia I. Koroleva (Lomonosov Moscow State University, Russia) “Artists of Cameos” in Russia in the Second Half of the 18th —Early 19th Century
2.3.12. Ekaterina A. Skvortsova (St. Petersburg State University, Russia) “Dialogues of the Dead” and Russian Fine Arts of the 18th Century
2.3.13. Vera S. Naumova (Lomonosov Moscow State University, Russia) Antiquity in Art Collection of K.G. Razumovsky
2.3.14. Vladimir S. Torbik (St. Petersburg State University, Russia) Restoration of Neoclassical Furniture’s Burnishing: Myths and Reality
2.3.15. Ol’ga K. Tsekhanovskaia (Central Naval Museum, St. Petersburg; I. Repin St. Petersburg State Academy Institute of Painting, Sculpture and Architecture, the Russian Academy of Arts, Russia) Antique Motifs in Architectural Plastic Decoration of Russian Sailboats
2.4. 14:30–15.00, “Modern Artists and Classical Antiquity”. Posters Presentations
Working language: Russian
Time limit for presentations – 3 minutes
Moderator: Ekaterina Iu. Staniukovich-Denisova
2.4.1. Andrei A. Bliok (The “Culture and Art of the CIS” Magazine, Russia) The Leningrad School of Tapestry, 1970s–1990s. Interpretation of the Classics
2.4.2. Polina K. Manova (“Isaac Brodsky’s Apartment” Museum, The Russian Academy of Fine Arts Museum, Russia) Classicist Tradition in the Sculpture of Igor Krestovsky
2.4.3. Elena K. Staniukovich (State Hermitage Museum, Russia) Contemporary Life against the Background of Antiquity: the “Greek Cycle” by the Painter Andrei Bliok
2.4.4. Elizaveta V. Baryshnikova (St. Petersburg State University, Russia) Motifs of Antiquity in the Works of Art-Group “Alypius” in the 1970s–2010s
2.4.5. Elena N. Kuz’mina (Consulate General of Belgium in St. Petersburg, Russia) Influence of the Ideas of Ancient Democracy upon the Creativity of a Moscow Painter Andrei Pashkevich (1945–2011)
2.4.6. Elena B. Churilova (Association of Art Critics, Russia) Images of Classical Antiquity — Images of “Mankind’s Childhood” in the Works of a St. Petersburg Artist Igor Churilov
2.4.7. Elina G. Nikolaeva (“Tatiana Nikitina’s Art Holding” Gallery, Russia) The Truth of the Myth. Vladimir Ovchinnikov’s Paintings of the 1970s–2000s
2.4.8. Liudmila M. Kirilova (St. Petersburg State University, Russia) Classical Antiquity in the Art of Vyacheslav Mikhailov
2.4.9. Elena V. Tarakanova (State Hermitage Museum, Russia) Return to Arcadia. Painting of Konstantin Troitsky
2.4.10. Mikhail V. Ovchinnikov (The Fabergé Museum, Russia) Parallax of Antiquity. The “Orgies” by Dmitry Gutov
15:00–16:00 Break
2.5. Session III “Domestic Art of the 19th – 20th Centuries and Classical Antiquity: Russian View”
15:00–19:00, St. Petersburg State University, Faculty of Liberal Arts and Sciences – The Bobrinskii Palace (St. Petersburg, Galernaya str., 58–60, LiteraА)
Time limit for papers — 15 minutes
Working languages: Russian, English
Chairpersons: Mikhail Iu. Evsev’ev, Ekaterina A. Skvortsova
2.5.1. Mikhail Yu. Evsev’ev (St. Petersburg State University, Institute for History, Russia) Ephemera of Antiquity in Sylvester Shchedrin’s Correspondence of the 1820s
2.5.2. Klara I. Sharafadina (St. Petersburg University of Humanities and Social Sciences, Russia) “Psyche Grown Pensive over a Flower”: Correlation between F.P. Tolstoy’s Illustration (1829) and Pushkin’s Book Vignette Sketch (1824): a Creative Contact or an Aesthetic Rhyme?
2.5.3. Valentina A. Voitekunas (St. Petersburg State University, Russia) Holy, Childish, Truthful: Reception of Italian Painting of the 13th – 15th Centuries in the Russian Culture of 1830s −1910s
2.5.4. Aleksander G. Sechin (The Herzen State Pedagogical University, Russia) Iconic Rhetoric in Alexander Ivanov’s Painting “Joseph Interpreting the Dreams of the Cup-Bearer and the Baker”
2.5.5. Leila S. Khasianova (Russian Academy of Arts, Russia) Influence of Archaeological Discoveries on the Art of H. Semiradski
2.5.6. Dmitrii V. Osipov (St. Petersburg State University, Russia) Antique Images in the Sculptural Decoration of the Sergievka Palace and Park Ensemble
2.5.7. Silvija R. Ozola (Riga Technical University, Latvia) Classical Motifs in Planning Spatial Environment of the Libau Resort at the Turn of the 19th and 20th Centuries
2.5.8. Anastasiia I. Dolgova (I. Repin St. Petersburg State Academy Institute of Painting, Sculpture and Architecture, Russian Academy of Arts, Russia) Art Nouveau and Historical Styles in the Interior of St. Petersburg Mansions in Late 19th — Early 20th Centuries
2.5.9. Andrei A. Nikol’skii (State Institute for Art Studies, Russia) Italian Renaissance as a Subject of Monumental Painting in Russian Neoclassicism at the Turn of the 20th Century: House of the Horserace Society and Tarasov’s Mansion in Moscow Architected by Ivan Zholtovsky and Painted by Ignaty Nivinsky
2.5.10. Ekaterina A. Savina (I. Repin St. Petersburg State Academy Institute of Painting, Sculpture and Architecture, Russian Academy of Arts, Russia) The World of Estate in the Works of Painters of “The Union of Russian Artists”
2.5.11. Veronika E. Barysheva, Larisa V. Zhelondievskaia (Stroganov Moscow State Academy of Arts and Industry, Russia) Malevich’s Suprematist Order
2.5.12. Galina A. Zagianskaia (Boris Shchukin Theatre Institute of the Vakhtangov Theatre Academy, Russia) Vladimir Favorskii’s Theory of the Greek Relief in the Context of “The Debate on Construction and Composition” in INKhuK and VHUTEMAS
2.5.13. Il’ia M. Lapin (Moscow Institute (State Academy) for Architecture, Russia) Academic Architectural Design in the Second Free State Art Studios (SGHM)
2.5.14. Natalia N. Mut’ia (St. Petersburg University of Humanities and Social Sciences, Russia) Mercury as a Character of Decorative Sculpture in Architectural Structures of St. Petersburg in the 18th — Early 20th Century
2.5.15. Liubov’ A. Slavova (State Russian Museum, Russia) Classical Tradition in Leningrad–Petersburg. Collection of Sculpture at the Russian Museum
Posters:
2.5.16. Veronika M. Kalinina (Ekaterinburg Museum of Fine Arts, Russia) Reminiscences of Antiquity in Somov’s “Porcelain Dreams”
2.5.17. Stanislav S. Gromik (Moscow Institute (State Academy) for Architecture, Russia) Classics of Architecture in the Second Free State Art Studios (SGHM)
13:00–14:00 Lunch (for the English-language section “Antiquity on the Ribs of European Middle Ages”)
2.6. 14:30–15:30 – Excursion to St. Petersburg State University (The Twelve Colleges Building), St. Petersburg, Vasilievsky Island, Universitetskaya emb., 7–9
2.7. Session IV “Antiquity on the Ribs of European Middle Ages” (English-language section)
15:30–19:30, St. Petersburg State University, The Twelve Colleges Building, Petrovskii Hall (St. Petersburg, Vasilievsky Island, Universitetskaya emb., 7–9)
Time limit for papers — 15 minutes
Working language: English
Chairpersons: Aleksei L. Rastorguev, Svetlana V. Kovalevskaia
2.7.1. Alexandra Uscatescu (Complutense University of Madrid, Spain) The Idea of Rome after Rome
2.7.2. Patrizia Carmassi (Centre for Mediaeval and Early Modern Studies (ZMF), University of Göttingen, Germany), Ludovico Geymonat (Bibliotheca Hertziana — Max Planck Institute for Art History, Italy) Two Newly-Discovered Carolingian Drawings of Ancient Centaurs
2.7.3. Allan George Doig (Lady Margaret Hall, University of Oxford, United Kingdom) Building, Enacting and Embodying Romanitas: the Throne of Charlemagne
2.7.4. Barbara Forti (Sapienza University of Rome, Italy) The Classical Heritage in the Roman Sculpture of the Middle Ages: the Case of the Twisted Columns in the Church of St. Charles Borromeo in Cave
2.7.5. Zuleika Murat (University of Warwick, United Kingdom) The Compendium Historiae in Genealogia Christi and Its Iconographical Tradition: Legacy of Classical Antiquity in a Mediaeval Biblical Anthology
2.7.6. Roberta Cerone (Borghese Gallery and Museum, Rome, Italy) Cives Romani in Marmoris Arte Periti: the Classical World and the Renewal of the Cloister Model in 13th Century Rome
2.7.7. Chiara Ponchia (University of Padua, Italy) Suggestion from the Antiquity: Discovering Classical Iconographies in the Divine Comedy Illustrations
2.7.8. Herbert Gonzalez-Zymla (Complutense University of Madrid, Spain) Classicism, Orientalism and Byzantinism in the Reliquary-Altar Piece of the Monastery of Piedra in Saragosse (Spain)
2.7.9. Hollick Bernhard (University of Cologne, Germany) An Ancient Poet Transformed. Caxton’s Portrait of Ovid and Late Medieval Thought
2.7.10. Grazia Maria Fachechi (University of Urbino, Italy) Tangled up in White: in Search of the Colours of Ancient Monuments through the Eyes of “Others”, from the Middle Ages to the Contemporary
October 30, 2014 (Thursday)
3.1. 09:30–10:30 – Excursion to St. Petersburg State University, The Twelve Colleges Building (St. Petersburg, Vasilievsky Island, Universitetskaya emb., 7–9)
3.2. Session V “Legacy of Classical Antiquity in the Byzantine Oikumene and beyond”
10:30–19:30, St. Petersburg State University, The Twelve Colleges Building, Petrovskii Hall (St. Petersburg, Vasilievsky Island, Universitetskaya emb., 7–9)
Time limit for papers — 15 minutes
Working languages: Russian, English
Chairpersons: Anna V. Zakharova, Svetlana V. Maltseva
3.2.1. Julia Ivanova Zlatkova (Institute of Balkan Studies and Center of Thracology, Bulgarian Academy of Sciences, Bulgaria) Classical and Christian Philosophy of Art: Aesthetics of Physics and Metaphysics
3.2.2. Renate Rosenthal-Heginbottom (The University of Göttingen, Germany; Hebrew University; Israel Antiquities Authority, Israel) Dionysos and His Retinue in the Art of Late Roman and Byzantine Palestine
3.2.3. Vladimir V. Vasilik (St. Petersburg State University, Russia) Ancient Tradition in Early Images of Christ
3.2.4. Valeria Z. Kuvatova (Russian State University for Humanities, Russia) Painting of Early Christian Catacombs in the 3rd and the First Half of the 4th Centuries. Semiotic Analysis
3.2.5. Jenny Albani (Hellenic Ministry of Culture and Sports, Directorate of Museums, Exhibitions and Educational Programmes; Hellenic Open University, Greece) A “Reused Antiquity”. Ancient Gems in Byzantine Rings
3.2.6. Livia Bevilacqua (Sapienza University of Rome, Italy; Scientific and Technological Research Council of Turkey; Istanbul University, Turkey) Family Inheritance. Classical Antiquities Reused and Displayed in Byzantine Cities
3.2.7. Svetlana V. Tarkhanova (Research Institute of Theory and History of Architecture and Town Planning of Russian Academy of Architecture and Construction Sciences, Russia) Temenos and Basilica in Hippos Sussita (Golan, Decapolis) during the Hellenistic, Roman and Early Byzantine Periods. Architectural Transformations of the Complex
3.2.8. Vladimir B. Besolov (International Academy for Architecture; Academy of Architectural Heritage, Russia) The formation of Central Domed Structures in the Countries of the Autochthonous and the Hellenized East: the Conflict and Confrontation of Architectural Traditions
3.2.9. Lilit Shavarsh Mikaelyan (Yerevan State University, Armenia) Acanthus and Palmette Motive in Early Medieval Armenian Sculpture and in the Art of Sasanian Iran
3.2.10. Pavla Gkantzios Drapelova (National and Kapodistrian University of Athens, Greece) Early Byzantine Coins in 6th and 7th Centuries. Ancient Influences and Tradition in the Early Middle Ages
3.2.11. Fanny Vitto (Israel Antiquities Authority, Israel) Representations of Biblical Scenes in the Early Byzantine Period: Were They Influenced by Mythology, the Hebrew Text of the Bible or Its Greek Translation?
3.2.12. Ernst Gamillscheg (University of Vienna, Institute for Byzantine and Modern Greek Studies, Austria) Late Antique Models for Byzantine Manuscripts: the Case of Catena-manuscripts
13:30–15:00 Break
3.2.13. Silvia Pedone (Sapienza University of Rome, Italy) The Emperor Theophilus (829–842) between “Classicism” and Exoticism
3.2.14. Zaruhi Avetis Hakobyan (Yerevan State University, Armenia) Depiction of Masks in Medieval Armenian Sculpture
3.2.15. Arpine Artush Asryan (Mesrop Mashtots Institute of Ancient Manuscripts Matenadaran, Armenia) Acanthus Ornament in the Decoration of the Cathedral in Ishkhan (End of the 10th Century) and its Parallels in the Late Antique and Early Christian Art
3.2.16. Anna A. Freze (St. Petersburg State University, Russia) Byzantine Octagon-Domed Churches of the 11th Century and the Roman Imperial Architecture
3.2.17. Veronika G. Ushakova (Lomonosov Moscow State University, Russia) Reminiscences of Classical and Byzantine Traditions in the Sculptural Decoration of the West Portal of Basilica di San Nicola in Bari
3.2.18. Ekaterina Gedevanishvili (G. Chubinashvili National Research Centre for Georgian Art History and Preservation, Georgia) Some Elements of Antiquity in Representation of Mountains in the Georgian Painting of the 12th – 13th Centuries
3.2.19. Svetlana V. Ivanova (Russian Institute of Art History, Russia) Byzantine Iconography of the Resurrection: the Influence of Antique Art
3.2.20. Ol’ga V. Chumicheva (Centre for East Christian Culture, Russia) Tricephalos Angel of Holy Wisdom: a Byzantine History of One Classic Personification
3.2.21. Maria I. Iakovleva (Russian State University for Humanities, Russia) Antique Origins of Ornaments in Monumental Mosaic Ensembles of the Early Palaeologan Period
3.2.22. Elena A. Nemykina (St. Petersburg State University, Russia) “The Heavenly Court” Compositions in the Iconography of Wall-Paintings of Serbia and Macedonia of the Second Half of the 14th Century
3.2.23. Elizaveta S. Semenova (State Institute for Art Studies, Russia) Classical Elements in the Painting of Exonarthex of the Virgin Levishka Church in Prizren (1307-1313)
3.2.24. Andjela Gavrilović (Belgrade University, Serbia) The Tricephalos in the Painted Dado of the Church of Nova Pavlica – Possible Origin of Iconography
3.2.25. Svetlana V. Tsymbal (Russian State University for Humanities, Russia) The Mask Motif in Byzantine and Western Medieval Art. Peculiarities of the Mask Motif in the Church of the Virgin Pantanassa in Mistra
3.2.26. Darko Nikolovski (National Conservation Centre, Republic of Macedonia) The Icon of the Prophet Elias in the Desert
3.2.27. Eleni Charchare (National and Kapodistrian University of Athens, Greece) Delightful Landscapes: Elements of the Greco-Roman Tradition in the Work of the Post-Byzantine Painter Ioannis Permeniatis
3.2.28. Elizaveta S. Vaneian (Lomonosov Moscow State University, Russia) Kushan Reminiscenses in the Early Buddhist Sculpture of Japan, 7th – 8th Centuries
3.3. Session IV “Antiquity on the Ribs of European Middle Ages” (Russian-language section)
11:00–12:30, St. Petersburg State University, Institute for History (St. Petersburg, Mendeleevskaya linia, 5, aud. 72)
Time limit for papers —15 minutes
Working languages: Russian
Chairperson: Anna A. Dmitrieva
3.3.1. Anna A. Dmitrieva (St. Petersburg State University, Russia) The Tradition of the Ancient Artistic Thinking in the Images of the Gothic Cathedral of Notre-Dame de Chartres
3.3.2. Ol’ga E. Blinova (St. Petersburg University of Humanities and Social Sciences, Russia) Forms of the Antique Art in the Celtic Artistic Tradition (Study in Celtic Coin Images)
3.3.3. Ariadna A. Voronova (St. Tikhon Orthodox University for Humanities, Russia) Antique Colonies in Dalmatia: Architectural Christianization
3.3.4. Anna A. Kiseleva (Lomonosov Moscow State University, Russia) Two Niches for the Holy Sacrament from Franconia: Features of Style and Iconography
3.3.5. Artem S. Vaniushin (St. Petersburg State University, Russia) Architecture of the Mendicant Orders in Poland — Origins and Characteristics
3.4. Session VI “Art of Classical Antiquity in the Mirror of the Renaissance”
14:00–18:00, St. Petersburg State University, Institute for History (St. Petersburg, Mendeleevskaya linia, 5, aud. 72)
Time limit for papers — 15 minutes
Working languages: Russian, English
Chairperson: Maksim A. Kostyria
3.4.1. Maria Carolina Campone (The Second University of Naples, Italy) Under the Sign of Antiquity: Classical Roots of Architectural Language of the Neapolitan Aragonese Period. The “Catalan” Arc and the Roman Buildings
3.4.2. Birte Rubach (Humboldt-University of Berlin, Berlin-Brandenburg Academy of Sciences and Humanities, Germany) The Census of Antique Works of Art and Architecture Known in the Renaissance — a Database of Visual and Textual Documentation
3.4.3. Lidia P. Krasnoperova, Maria V. Shchetina (Radishchev State Art Museum in Saratov, Russia) North Italian Artist of the 16th Century: “Roma Handles the Destiny of Rome to Christian Church”
3.4.4. Dar’ia A. Churkina (Lomonosov Moscow State University, Russia) Image of a Ruler and Classical Tradition at the Court of Ferrara in the 15th and Early 16th Centuries
3.4.5. Marina A. Lopukhova (Lomonosov Moscow State University, Russia) “Ornamenti Infiniti” and Antique Legacy in Benedetto da Rovezzano’s Creativity
3.4.6. Liudmila V. Mikhailova (St. Petersburg State University, Russia) Perception of Classical Subjects and Forms in the Court Art of the Emperor Maximilian I of Habsburg
3.4.7. Marina L. Ferry (St. Petersburg State University, Russia; Catholic University of Leuven, Belgium) Images of Antique World in the Mediaeval and Renaissance Secular Book Illumination
15:30–16:00 Break
3.4.8. Maksim A. Kostyria (St. Petersburg State University, Russia) Images of Antique Cities and “Fire Landscapes” in European Art of the 16th Century
3.4.9. Stefania A. Kovbasiuk (Taras Shevchenko Kyiv National University, Ukraine) Quackery in the Netherlands Art of Late 15th – First Half of the 16th Centuries: Classical Allusions in the Renaissance Iconography of Deceit
3.4.10. Liudmila V. Vashchuk (Taras Shevchenko Kyiv National University, Ukraine) Paintings of Francis I’s Gallery: Stories and Symbolism of Images
3.4.11. Elena N. Chernozemova (Moscow State Pedagogical University, Russia) Destiny of Apelles: Ancient Artist as a Personage of a Dramatic Work of English Renaissance. “Campaspe” by John Lyly
3.4.12. Maria A. Prikladova (St. Petersburg State University, Russia) Image of Spanish King in the Art of the 16th – 17th Centuries
3.4.13. Victoria S. Dremova (St. Petersburg State University, Russia) Image of Warrior in Spanish Painting of the 15th Century
3.4.14. Mariia Prokhortsova (St. Petersburg State University, Russia) Retablo and Iconostasis: Parallels in Composition
3.5. Session VII “Western European Art of the 17th –19th Centuries. Classical Tradition’s Destiny: from Model to Interpretation”
10:00–19:00, St. Petersburg State University, Institute for History (St. Petersburg, Mendeleevskaya linia, 5, aud. 70)
Time limit for papers — 15 minutes
Working languages: Russian, English
Chairpersons: Il’ia А. Doronchenkov, Еkaterina А. Skvortsova
3.5.1. Floor Anna Koeleman (Radboud University, Nijmegen, the Netherlands) Studying the Studio – The Art Gallery of Rubens Depicted?
3.5.2. Margarita-Ana Vázquez-Manassero (UNED - The National Distance Education University, Madrid, Spain) Twelve Caesars’ Representations from Titian to the End of the 17th Century: Military Triumph Images of the Spanish Monarchy
11:00–11:15 Coffee-break
3.5.3. Anna Maria Ambrosini Massari (University of Urbino Carlo Bo, Italy) Johann Zoffany, Classical Art, Italy and Russian Patronage: Shedding New Light on Models, Men and Paintings
3.5.4. Giovanna Perini Folesani (University of Urbino Carlo Bo, Italy) Sir Joshua Reynolds and Classical Art: Notes on his Mythological Paintings, Most Notably “The Infant Hercules” for Empress Catherine II
3.5.5. Basile Baudez (Paris Sorbonne University, France) The Classical Tradition in French Architectural Competition Drawings, from the Académie Royale to the Ecole des Beaux-Arts
12:15–12:30 Coffee-break
3.5.6. Iuliia B. Balakhanova (State Hermitage Museum, Russia) Ovid versus Philostratus the Elder: Primary Ancient Sources for the 17th-century European Emblems
3.5.7. Vera N. Zakharova (European University at St. Petersburg, Russia) “The Renaissance Antiquity” in the Works of Erwin Panofsky
3.5.8. Maria V. Sokolova (Lomonosov Moscow State University, Russia) “Another Antiquity”: Images and Themes of the Antique World in the European Art of the 18th – 19th Centuries
3.5.9. Iurii G. Tulupenko (Herzen State Pedagogical University, Russia) Antiquity in the 18th-century English Garden: Aesthetics and Politics
14:00–15:00 Break
3.5.10. Mariia A. Chernysheva (St. Petersburg State University, Russia) Quatremère de Quincy on Mimesis. A Classical Concept in the Neoclassical Theory of Arts
3.5.11. Olga V. Permiakova (Ekaterinburg Museum of Fine Arts, Russia) The Antique Images Made in Bronze at the Factory of Ferdinand Barbedienne. On the Question about the Interest in the Classical Antiquity in the Middle – the Second Half of 19th Century
3.5.12. Natal’ia A. Bol’shakova, Tat’iana V. Shlykova (State Hermitage Museum, Russia) An Example of Interpretation of Ancient Themes in Meissen Porcelain. On the Conservation of “The Fire” and “The Earth” Vases from the “Four Elements” Series by I. I. Kändler
3.5.13. Tat’iana V. Sidorova-Sliusarenko (State Radio-Television Channel “Culture”, Russia) Antiquity and Biedermeier: Do They Have Anything in Common?
3.5.14. Elena G. Goikhman (Lomonosov Moscow State University, Russia) The Aspects of Conception and Interpretation of the Classical Antiquity Images and Forms in the Works of Eugène Delacroix of the 1820s.
16:40–17:00 Coffee-break
3.5.15. Vera B. Zhizhina-Hefter (Bibliotheca Classica Petropolitana, Russia) Serge A. Ivanoff’s Italian Etudes: to the Problem of Archaeological Reconstructions in 1800s–1850s
3.5.16. Oksana I. Dubitskaia (Association of Art Critics, Russia) Pre-Raphaelites and Antiquity: Seeing through the Prism of Subjective “Avant-garde” Aesthetics
3.5.17. Irina V. Belintseva (Research Institute of Theory and History of Architecture and Town Planning, Central Research and Restoration Project Workshop, Russia) Palace Baynunen in East Prussia (now Kaliningrad Region) and Its Antique Collection
3.5.18. Anastasiia S. Iarmosh (St. Petersburg State University, Russia) Neoclassicism in Creative Practice of Royal Copenhagen Porcelain Manufactory Masters
3.5.19. Polina A. Trusova (State Hermitage Museum, Russia) Monuments of Ancient Architecture in Maurice Denis’s Landscapes of the Early 20th Century in the Context of Discussion about Classical Tradition of French Art
Posters:
3.5.20. Ol’ga Iu. Perevedentseva (I. Repin St. Petersburg State Academy Institute of Painting, Sculpture and Architecture, the Russian Academy of Arts, Russia) Antique Images in the European Cabinets of Curiosities in 1590–1660
3.5.21. Anna K. Gur’ianova (St. Petersburg University of Humanities and Social Sciences, Russia) Ancient Canon on Coins of the Early Modern Period
3.5.22. Nadezhda M. Sim (Art College “World of Art”, Russia) Baroque Period in the Architecture of Granada. “Granadino” Style Problem
3.5.23. Dar’ia D. Kolpashnikova (Lomonosov Moscow State University, Russia) Theatricality of the “Jesuit Baroque” and Its Manifestations on the Example of the Ceiling Paintings of the Roman Churches
3.6. Session VIII “Art of the 20th – 21st Centuries. Faces of Classical Antiquity in the Labyrinth of Modernity”
11:00–19:30, St. Petersburg State University, Institute for Philosophy (St. Petersburg, Mendeleevskaya linia, 5, aud. 25)
Time limit for papers — 15 minutes
Working languages: Russian, English
Chairpersons: Anatolii V. Rykov, Ekaterina Iu. Staniukovich-Denisova, Anastasiia S. Iarmosh
3.6.1. Jerzy Malinowski, Irina Gavrash (Polish Institute of World Art Studies in Warsaw; Nicolaus Copernicus University in Torun, Poland) Inspiration with Antiquity in Polish Art around 1900
3.6.2. Natalia Yu. Bartosh (Novosibirsk State University, Russia) «Charmides» of Oscar Wilde: Modernism in Search of Antique Sophrosyne
3.6.3. Svetlana Ia. Kagarlitskaia (Moscow State Pedagogical University, Russia) The Metamorphoses of Dyonisus
3.6.4. Mariia S. Oleinik (State Russian Museum, Russia) Portrait in Marianne von Werefkin’s Art
3.6.5. Anna V. Alekseeva (I. Repin St. Petersburg State Academy Institute of Painting, Sculpture and Architecture, the Russian Academy of Arts, Russia) Guillaume Apollinaire’s “Orphism”. Antique Myth and “Pure” Painting of F. Kupka, R. Delaunay and F. Picabia
3.6.6. Joan Robledo-Palop (Yale University, USA) Classical Bodies in European Art and Politics 1918-1939
3.6.7. Ida A. Shik (St. Petersburg State University, Russia) The Reception of the Myth of the Androgyne in the Surrealist Photography
3.6.8. Anna G. Viazemtseva (Research Institute of Theory and History of Architecture and Town Planning of Russian Academy of Architecture and Construction Sciences, Russia) Towards “the Adaptation of Heritage”. Architecture in Italian-Soviet Relationship between Two World Wars
3.6.9. Maiia M. Gybina (Moscow Institute (State Academy) for Architecture, Russia) Interpretation of the Classic Architectural Themes in the Work of Marcello Piacentini
3.6.10. Lada S. Balashova (University of Essex, Great Britain) Arturo Martini and Etruscan Artistic Traditions in Italian Art of the 1930s
3.6.11. Belinda Grace Gardner (University of Fine Arts of Hamburg, Germany) Trajectories of Passion. The Lasting Impact of Classical Allegories of Love on Representations of Emotional Longing
3.6.12. Sof’ia V. Aksenova (Lomonosov Moscow State University, Russia) Perception and Using Principles of the Classical Architectural Tradition in the 1920-1930s
3.6.13. Ol’ga K. Ivanova (State Tretiakov Gallery, Russia) Philosophy of Alexander Bykhovskii’s Creativity: Art and Poetry (1888-1978)
3.6.14. Kristina V. Mikhal’chi (Lomonosov Moscow State University, Russia) Depiction of Movement in the Air in Soviet Painting of 1920s – 1930s
14:30–16:00 Break
3.6.15. Angelina Lucento (Central European University, Hungary) Antiquity and the New Man: The Classical Figure in the Work of Evgenii Katsman
3.6.16. Giorgi Papashvili (Tbilisi State Academy of Arts; G. Chubinashvili National Research Centre for Georgian Art History and Heritage Preservation, Georgia) Photography in the Art of Giorgi (Gigo) Gabashvili (on the Intellectual Re-interpretation of Ancient Themes)
3.6.17. Igor’ V. Glazov (I. Repin St. Petersburg State Academy Institute of Painting, Sculpture and Architecture, the Russian Academy of Arts, Russia) Ancient Tradition in Russian Painting of the Second Half of the 20th Century
3.6.18. Nataliia V. Shchetinina (St. Petersburg State University, Russia) Appropriation of Images of Antiquity in the Work of J. Koons
3.6.19. Marina A. Chekmareva (State Hermitage Museum, Russia) The Up-to-Date Antiquity. Body Cult in the Mirror of Contemporary Art
3.6.20. Elena S. Kashchenko (St. Petersburg State University, Russia) Images of Ancient Rome in the Context of Hollywood Cinema
3.6.21. Iurii P. Volchok (Research Institute of Theory and History of Architecture and Town Planning of Russian Academy of Architecture and Construction Sciences, Russia) Knowledge of Antiquity and Architectural Studies in the 1960s: Arche of Modern Architecture
3.6.22. Anna K. Florkovskaia (V. Surikov Moscow State Academy Art Institute, the Russian Academy of Arts, Russia) Forms of Antiquity in Postmodern Poetics. Moscow Unofficial Art of the 1980s.
3.6.23. Ol’ga V. Kalugina (The Research Institute of Theory and History of Art of the Russian Academy of Arts, Russia) Antique Images in Modern Russia Easel Sculpture: A Problem of Interpretation
3.6.24. Elizaveta V. Sheveleva (St. Petersburg State University of Culture and Arts; St. Petersburg State University, Russia) The Phenomenon of Roman Glass in Modern Jewelry
3.6.25. Elena I. Bulycheva (Nizhni Novgorod State Conservatoire (Academy), Russia) The Cycle “Frauen” by Thomas Schütte: A Dialogue with the Antiquity
3.6.26. Natalia S. Shalina (University of Westminster, United Kingdom) Museums of Contemporary Art as New Forums: Definition, Functions, Features
Posters:
3.6.27. Elena A. Petukhova (St. Petersburg State University of Technology and Design, Russia) French Art Deco Poster: Artistic Language and Stylistic Aspects
3.6.28. Ol’ga V. Smirnova (I. Repin St. Petersburg State Academy Institute of Painting, Sculpture and Architecture, the Russian Academy of Arts, Russia) Some Aspects of the Decoration of the House in the Alcolena Street: A Myth about Cupid and Psyche as the Subject of the Stained Glass by José Sobral de Almada Negreiros
3.6.29. Mariia A. Ivanova (St. Petersburg State University, Russia) Interpretation of the Theme of Catharsis as an Example of the Modern Way of Reading Frida in Art Photography
3.6.30. Ekaterina Iu. Staniukovich-Denisova (St. Petersburg State University, Russia) Abstract Classicism of Oleg Liagatchev-Helgi and Digital Art of 1990s
October 31, 2014 (Friday)
4.1. Session IX “Harmony of the Classics under the Arches of Old Rus’”
10:00–15:00, St. Petersburg State University, The Twelve Colleges Building, Petrovskii Hall (St. Petersburg, Universitetskaya emb., 7–9)
Working languages: Russian, English
Time limit for papers — 15 minutes
Chairpersons: Valentin A. Bulkin, Evgenii V. Khodakovsky
4.1.1. Denis D. Yolshin (State Hermitage Museum, Russia) Meander in the Brick Decoration of Old-Russian Churches in Premongolian Time
4.1.2. Daria A. Skobtsova (Interregional Agency for Scientific Restoration of Works of Art, Russia) Premongolian Monumental Painting of Smolensk
4.1.3. Aleksandra V. Trushnikova (St. Petersburg State University, Russia) Architectural Typology of the Old-Russian Single-aisled Domed Churches in Premongolian Period
4.1.4. Anna A. Slapinia (Russian State University for the Humanities, Russia) Secular Themes in the Decoration of Novgorodian Archaeological Objects, Mid 11th – Beginning of the 14th Centuries: Iconographic Typology and Analogues
4.1.5. Aleksei M. Salimov (Branch of State Academy of Slavic Culture in City of Tver, Research restoration Centre “Tver’proektrestavratsiia”, Russia) The Archangel Mikhael Cathedral of Late 14th Century in Staritsa and Medieval Architecture of the North-Eastern Rus’
4.1.6. Petr G. Ershov (Russian Institute of Art History, Russia) On Studying the History of Renaissance Influences on Russian Architecture of the First Third of the 16th Century
4.1.7. Nina V. Kvlividze (Russian State University for the Humanities, Russia) Cycle of Miniatures of “Alexandria” as a Part of the Illustrated Chronicle of the Tsar Ivan the Terrible
12:00–12:30 Break
4.1.8. Elena A. Popova (Research Library of the Russian Academy of Arts, Russia) Frescoes of Ancient Pskov of the Last Quarter of the 14th – the Beginning of the 15th Centuries
4.1.9. Mikhail Milchik (Research Institute “Spetsproektrestavratsiia”, Cultural Heritage Board of the Government of St. Petersburg, Russia) What Was the Origin of the Recensions in the Old-Russian Iconography of the Solovetsky Monastery?
4.1.10. Vsevolod M. Rozhniatovskii (Institute of Television, Business and Design, Russia) Light Effects in the Decoration Program of Resurrection Cathedral (17th с.) in Tutaev near Jaroslavl
4.1.11. Tat’iana E. Samoilova (Moscow Kremlin Museums, Russia) Patronal Icon of Ioann V Alexeyevich. On the Formation of a New Iconographic Recension
4.1.12. Mikhail V. Stepanov (Research Institute “Spetsproektrestavratsiia”, Russia) Reconstruction of the Working Methods Employed in Building of the Church-Belfry of St. John Climacus in the Moscow Kremlin and the Ascension Church in Kolomenskoye Village
4.1.13. Rimma A. Fedotova (St. Petersburg State University of Technology and Design, Russia) The Concept of Liturgical Space and Its Connection with the Art Theory
4.1.14. Aleksei E. Filippov (Kuban State University, Russia) About Anatomical Veracity in the “Crucifixion” Subject in Russian Iconography of the 15th – Early 16th Centuries
4.1.15. Dar’ia V. Naidenova (St. Petersburg State University, Russia) The Image of St. Christopher and the Iconographic Features of the Side Altar Doors in the Late Medieval Period
4.2. Panel Discussion
“Fine Arts and Architecture within and outside the Heritage of Classical Antiquity”
“Modern Art in the Old Museum”
10:00–13:00, The State Hermitage Museum, Council Hall (St. Petersburg, Dvortsovaya emb., 34, The Hermitage staff entrance)
Time limit for papers — 15 minutes
Working languages: Russian, English
Chairperson: Anna A. Trofimova
4.2.1. Thomas Howe (Southwestern University, Texas, USA; Restoring Ancient Stabiae Foundation, Vesuvian Institute, Italy); Paolo Gardelli (Restoring Ancient Stabiae Foundation, Vesuvian Institute, Italy) Creating a New Image of Antiquity in the 21st Century: Restoring the Villas of Ancient Stabiae
4.2.2. Martin Dorka Moreno (Albert Ludwig University of Freiburg, Germany) Faces of Soft Power. Alexander the Great and Modern Political Discourse: the Case of Macedonia
4.2.3. Dmitrii E. Lavrov (St. Petersburg State University, Russia) Antique Influence in Palekh Lacquered Miniatures
4.2.4. Mikhail A. Busev (Research Institute of Theory and History of Art of the Russian Academy of Arts, Russia) Classical Motifs and Images in the Work of the Parisian Neoavant-Gardists: César, Arman
4.2.5. Armen Iu. Kazarian (Research Institute of Theory and History of Architecture and Town Planning of Russian Academy of Architecture and Construction Sciences; State Institute for Art Studies, Russia) The Ratio of the Classical Heritage as a Criterion for Assessing the Professionalism of the Medieval Architecture. Presentation of Europa Nostra Award - 2014 for the contribution to the preservation of the European cultural heritage given for the research “Church Architecture of the 7th Century in Transcaucasian Countries”, Category of entry: EU 2)
4.2.6. Anatolii V. Rykov (St. Petersburg State University, Russia) “Time Machines, Desiring Machines”. Theories of Regeneration in Сontemporary Art and Politics
4.2.7. Mikhail V. Ovchinnikov (Fabergé Museum, Russia) Heroic Myth in Contemporary Russian Art. The Exhibition of Boris Orlov in the Ancient Halls of the Museum of Art History in Vienna
4.2.8. Kirill A. Svetliakov (State Tretyakov Gallery, Russia) Freedom in Search of the Lost Harmony: Contemporary Art and Antiquity – Culture of a Fragment or Image System?
4.2.9. Discussion of the papers
13:00–14:00 Lunch
4.3. Discussion of the conceptual expositional projects: Louise Bourgeois, Giovanni Battista Piranesi and Art-objects within the programme of Manifesta-2014
14:00–15:00, State Hermitage Museum, Hall of Hercules (St. Petersburg, Dvortsovaya emb., 34, The Hermitage staff entrance)
Moderators: Dmitrii Iu. Ozerkov, Kirill A. Svetliakov
4.4. Panel discussion (by invitation)
15:00–18:30, State Hermitage Museum, Library of Antiquity Department (St. Petersburg, Dvortsovaya emb., 34, The Hermitage staff entrance)
Working languages: Russian, English
Chairperson: Anna A. Trofimova
4.4.1. Anna A. Trofimova (Head of Antiquity Department of the State Hermitage Museum, Russia) “Face to Face”: What Does the “Antiquity” Mean for a Man of the 21st Century?
Theses and topics for discussion:
What does the Antiquity mean for us and our contemporaries? A civilization gone, a magnificent ruin, a golden period of childhood for the humankind – the great past, that is lost irrecoverably and became unapproachable. But what is the vital force of antiquity and why does one experience this epoch as his or her present, not the past? Concepts, myths, canons, institutions, which became flesh and blood of the European civilization and inseparable from the contemporary consciousness, might be an obvious answer, but not the exhaustive one. Every historical epoch creates its own image of antiquity, unique and changeable. This image embodies dreams and reality of its contemporaries. Artists, politicians, historians, statesmen and mass-media representatives in the 20th century, as well as in the 21st century find an opportunity for relevant self-expression while following a lifestyle of the classical antiquity. In the space of a modern museum a whole world is created around a single antique piece. Illumination, location of objects and their interrelations with architecture work for the main goal of an exposition – to achieve the participation effect for a beholder, not to plunge him or her into the past. What does the antiquity mean for you nowadays? This question we present for participants of the conference, which are representatives of various disciplines, schools, scientific and artistic institutes.
4.4.2. Kirill A. Svetliakov (Head of Latest Trends Department, State Tretyakov Gallery, Russia) Freedom in Search of the Lost Harmony: Contemporary Art and Antiquity – Culture of a Fragment or Image System?
Theses and topics for discussion:
It is a secret for no one, that contemporary art established itself through opposing to the antique tradition. Aesthetics of a fragment succeeded the wholeness of a classic ideal, and the latter became one of the main attributes of “contemporaneity”. Nevertheless, many forget that the so called “classic ideal” was constructed from fragments, and the first outstanding examples of such constructs appeared in the Renaissance. Art of the 20th century searched for new resources and limited its use of the classical heritage. Though many of the models and modes of thinking, and of reflection also, which are considered as “contemporary”, originate in the aesthetics of the antique fragments. “Injuries” and “losses” of the contemporary art, in fact, differ little from the “ruins” and “found objects” of antiquity. The panel discussion will unite the scholars, studying antiquity and contemporary art, in order to investigate the concept of a fragment in historical sciences and latest practices.
4.4.3. Anatolii V. Rykov (St. Petersburg State University, Institute for History, Russia) Antiquity as Invention and Appropriation: Struggle for the Cultural Heritage in the Political and Artistic History of the 20th – 21st Centuries. Concepts of Mythologization, “Nationalization”, “Privatization” and Restitution
Topics for discussion:
Concepts of “nationalization” of antiquity within the framework of state policies and various forms of its cultural legitimation, “privatization” of antiquity by “personal mythologies” of artists, questions of museum valuables are offered for discussion
4.5. Thematic excursions in the halls of the State Hermitage Museum
14:00–18:30, State Hermitage Museum
4.5.1. 15:00–17:30 Antiquity Department exposition, meeting of participants near the Hermitage Council Hall
4.5.2. 15:00–17:30 Gold Rooms. World of Hellenes and Barbarians, meeting of participants near the Hermitage Council Hall
4.5.3. 15:00–17:30 General tour. Antiquity in the West-European Art, meeting of participants near the Hermitage Council Hall
4.6. Closing remarks
18:00–18:30, State Hermitage Museum, The Hermitage Council Hall (St. Petersburg, Dvortsovaya emb., 34, The Hermitage staff entrance)