Article Index

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


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