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Дисертаційну роботу присвячено дослідженню стилістичних особливостей
порцеляни Західної та Східної Європи XVIII - початку XX ст., яка зберігалася в
приватних колекціях (кінця XIX - XX ст.) та частково ввійшла до музейних фондів
України. Розглянуто колекції та подано нові відомості про збирачів: родини
Бродських та Ханенків, О. Білого, О. Гансена, Д. Попова, М. Фрадкіна, К. Шпектор
та ін., твори з колекцій яких зберігаються в музеях південного, північного та
східного регіонів України.
Стилістичні особливості простежено на вибраних творах порцелянової
мануфактури Майсена, Відня, королівських порцелянових мануфактур Берліна та
Севра, Імператорського фарфорового заводу Росії та на предметах приватного
підприємства А. Миклашевського у с. Волокитиному. При стилістичному аналізі
окреслено риси бароко, рококо, класицизму, модерну та інших течій та напрямів,
прослідковано риси еклектики зі зверненням до попередніх епох. Підкреслено, що
стилістичний аналіз порцелянових творів потрібно здійснювати з огляду на
пластичні та живописні особливості предмету, з урахуванням історичного
контексту. У роботі представлено низку нових документів і предметів, уточнено та
поставлено під питання попередні атрибуції. Відкриття та публічний аналіз
українських колекцій порцеляни, із залученням незалежних фахівців, підтвердить
інтеграцію виробів у світовий культурний простір.
The dissertation is a comprehensive study dedicated to the analysis of the stylistic
features of the Western and Eastern European porcelain ware from private collections that
were partially included in Ukrainian museum collections.
The scientific novelty consists in the identification of porcelain collectors of the late
19th - 20th century, familiarisation with the biography of each of them and determination
of their legacy in the museums of Southern, Northern and Eastern Ukraine. A series of
works were attributed and introduced to the scientific discourse; stylistic features of
porcelain of 18th - early 20th century from Western and Eastern Europe from most of the
collections were analysed.
O. Hansen’s biography was reconstructed and the fate of the founder of the Third
State Museum after the 1920s was clarified in the study. The collector’s German archive
was studied. The porcelain collection that was transferred from O. Hansen’s collection to
the National Museum of Ukrainian Decorative Art was described. Samples of European
porcelain ware were taken from the Khanenkos’ collection that is stored at Bohdan and
Varvara Khanenko National Art Museum. The prominent physical chemist O. Brodsky
was presented as a collector. Information about the scholar’s wife, V. Brodska-
Sheremetieva, was introduced to the academic discourse. The Brodskys’ contribution at
the National Museum “Kyiv Picture Gallery” was singled out.
Artistic preferences of the Kyiv homeopath D. Popov were determined. The
collection was analysed and a series of works that are stored in the One Street Museum
and by the doctor’s heirs were introduced to the academic discourse. For the first time,
Doctor K. Shpektor’s collection in N. Onatsky Sumy Regional Art Museum (SRAM) was
examined, which expands our knowledge about the prominent collection. The porcelain
ware from the graphic artist M. Fradkin’s collection was presented which is now stored in
Kharkiv Art Museum; the artist’s archive was studied.
The study provides biographic data about the collector O. Bilyi, who founded the
first highly specialised Ukrainian museum of Russian and Soviet artistic porcelain ware
(now O. Bilyi Chornomorsk Museum of Fine Arts). The collection of the famous alpinist
and collector O. Blieshchunov was described, which is stored in O. Blieshchunov Odesa
Municipal Museum of Private Collections. The inventory cards at Odesa Art Museum
(OAM) and SRAM were processed in order to single out items that came from private
owners. As a result of the study, information was found that helps describe the
personalities of Ukrainian collectors of the late 19th - 20th century more thoroughly.
The main part of the study deals with the analysis of individual porcelain items from
Ukrainian private collections of the late 19th - 20th century. The items of porcelain
manufacturies that are predominant in the abovementioned collections were singled out,
namely: Meissen Manufactory, Vienna Imperial Porcelain Manufactory, Berlin and Sevres
Royal Porcelain Manufactory, Russian Imperial Porcelain Factory (IPF) and
A. Myklashevskyi’s private enterprise in the former Chernihiv Province. As a result of the
study, a number of works were introduced to the academic discourse, a series of new
attributions were completed and previous attributions were questioned.
The history of the development and work of manufacturies was described and the
prominent artists were mentioned. The influence of historical and political situation on the
change of tastes and their stylistic orientation was retraced. The aesthetic significance of
the items and the reflection of the styles of the 18th - early 20th century was highlighted. It was noted that the style of porcelain ware should be considered taking into account both
form and pictures. Visual stylistic analysis contributes to the analysis, but it cannot by the
key element of attribution. The depiction of characteristic features of Baroque, Rococo,
Classicism, Art Nouveau and other narrow trends and tendencies in porcelain ware
confirms that porcelain is a material imprint of the epoch and tastes that were common
during a certain period of time in a certain place.
It is noted that a considerable amount of porcelain ware stored in Ukrainian
museums require a more comprehensive analysis and re-attribution. The discovery and
public analysis of Ukrainian collections of European porcelain ware of the 18th - early 20th
century involving independent researchers will confirm the integration of items into global
cultural space. |
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