Abstract: The subject of the research is the painting 'The Call of Girondins' by a French academist Francois Flameng. Being the first and the brightest painting in his series of paintings devoted to the French Revolution, The Call of Girondins demonstrates a scope of Flameng's artistic interests at the early stage of his creative work and proves the fact that as a result of his devotion to the aforesaid theme, Francois Flameng happened to be on the frontline of the historical genre in painting which in many ways predetermined his future success. Despite the fact that Flameng created that painting in his younger days, the painting already shows his skills and sets a direction for Flameng's future creative development as well as marks out the main artistic directions of the artist's creative life. In this reserch Chernik conducts his analysis from particulars to generals and tries to define not only the main trends of Flameng's future creative work and outline a scope of masters who influenced the development of Flameng as an artistic but also to analyze the painting from the point of view of the general cultural and historical environment of those times, thus underlying the contradictory nature of artistic processes of the second half of the XIXth century. The author of the article pays special attention to the problems of iconography of the painting and the influence of new artistic trends on Flameng's painting style. For this purpose the author has used historiographical, iconographical and comparative analysis. As a result of analyzing the painting 'The Call of Girondins', the author comes to the conclusion that despite the common opinion of modern researchers that Francois Flameng followed strict academic rules and ideals of salon painting, the artist was also open for brave iconographic solutions and new artistic trends. 

Keywords: impressionism, naturalism, realism, history painting, academic painting, Girondin trial, French Revolution, Jean-Léon Gérôme, Édouard Manet, François Flameng

References:
Ackerman G. M. Gerome and Manet // Gazette des Beaux-Arts, 1967. Juillet-Aout. T. 70. P. 163-176.
Allard S. L’art français: Le XIXe siècle: 1819-1905. Paris, 2009. 615 p.
Beresina V. N. The Hermitage. Catalogue of western european painting. French painting. French painting early and mid-nineteenth century. New-York–Florence, 1983. P. 190-201.
Boime A. Thomas Couture and the evolution of painting in nineteenth-century France. The Art Bulletin, 1969. March. Vol. 51. ¹ 1. P. 48-56.
Cabanne P. L’art du XIXe siècle. Paris,1989. 350 p.
Cachin F. L’art du XIXe siècle: 1850-1905. Paris, 1990. 629 p.
Daix P. Pour une histoire culturelle de l’art moderne: de David à Cézanne. Paris, 1998. 368 p.
Frascina F. Modernity and modernism: French painting en the nineteenth century. New Haven, 1993. 297 p.
Gueniffey P. Histoire de la Révolution et de l’Empire. Paris, 2013. 744 p.
Guillaume E. Le Salon de 1879 // Revue des deux mondes: recueil de la politique, de l’administration et des moeurs, 1879. P. 185-211.
Lamartine A. de. Histoire des Girondins. Paris, 1860-1861. T. 13,5. 428 p.
Lécharny L.-M. L’art pompier. Paris, 1998. 127 p.
Lemaire G.-G. Histoire du Salon de peinture. Paris, 2004. 250 p.
Martin-Fugier A.La vie d’artiste au XIXe siècle. Paris, 2007. 472 p.
Masson F. L’oeuvre napoleonienne de François Flameng // Figaro illustré, 1898. Novembre. P. 208-213
Mézin L. La Villa Masséna du Premier Empire à la Belle Époque. Nice, 2010. 184 p.
Miura A. Acadèmisme et modernité dans la peinture française de la seconde moitié du XIXème siècle. URL: http://utcp.c.u-tokyo.ac.jp/publications/pdf/CollectionUTCP7_Miura_04.pdf. P. 57-79. (data obrashcheniya: 28.03. 2015).
Nuffel H. van. La charge de Ney à Waterloo, par Flameng // Le Bulletin de la SBEN. 1990. ¹ 12. P. 10-23.
Reff T. Manet and Modern Paris: Exhibition catalogue. Wachington. National Gallery of Art, 1983. 230 p.
Reff T. Manet’s Incident in a Bullfight. New York, 2005. 71 p.
Robichon F. Les guerres de la Révolution // La peinture militaire française de 1871 à 1914. Paris, 1998. P. 168-187.
Saint-Victor P. de. Le Salon (Histoire et Religion) // L’année artistique. Année 1878 (-1882). Année 2, par Victor Champier, 1879-1882. P. 71-124.
Wolz A. Le Salon // Le Figaro, 1879. 11 Mai.

References (transliteration):
Ackerman G. M. Gerome and Manet // Gazette des Beaux-Arts, 1967. Juillet-Aout. T. 70. P. 163-176.
Allard S. L’art français: Le XIXe siècle: 1819-1905. Paris, 2009. 615 p.
Beresina V. N. The Hermitage. Catalogue of western european painting. French painting. French painting early and mid-nineteenth century. New-York–Florence, 1983. P. 190-201.
Boime A. Thomas Couture and the evolution of painting in nineteenth-century France. The Art Bulletin, 1969. March. Vol. 51. ¹ 1. P. 48-56.
Cabanne P. L’art du XIXe siècle. Paris,1989. 350 p.
Cachin F. L’art du XIXe siècle: 1850-1905. Paris, 1990. 629 p.
Daix P. Pour une histoire culturelle de l’art moderne: de David à Cézanne. Paris, 1998. 368 p.
Frascina F. Modernity and modernism: French painting en the nineteenth century. New Haven, 1993. 297 p.
Gueniffey P. Histoire de la Révolution et de l’Empire. Paris, 2013. 744 p.
Guillaume E. Le Salon de 1879 // Revue des deux mondes: recueil de la politique, de l’administration et des moeurs, 1879. P. 185-211.
Lamartine A. de. Histoire des Girondins. Paris, 1860-1861. T. 13,5. 428 p.
Lécharny L.-M. L’art pompier. Paris, 1998. 127 p.
Lemaire G.-G. Histoire du Salon de peinture. Paris, 2004. 250 p.
Martin-Fugier A.La vie d’artiste au XIXe siècle. Paris, 2007. 472 p.
Masson F. L’oeuvre napoleonienne de François Flameng // Figaro illustré, 1898. Novembre. P. 208-213
Mézin L. La Villa Masséna du Premier Empire à la Belle Époque. Nice, 2010. 184 p.
Miura A. Acadèmisme et modernité dans la peinture française de la seconde moitié du XIXème siècle. URL: http://utcp.c.u-tokyo.ac.jp/publications/pdf/CollectionUTCP7_Miura_04.pdf. P. 57-79. (data obrashcheniya: 28.03. 2015).
Nuffel H. van. La charge de Ney à Waterloo, par Flameng // Le Bulletin de la SBEN. 1990. ¹ 12. P. 10-23.
Reff T. Manet and Modern Paris: Exhibition catalogue. Wachington. National Gallery of Art, 1983. 230 p.
Reff T. Manet’s Incident in a Bullfight. New York, 2005. 71 p.
Robichon F. Les guerres de la Révolution // La peinture militaire française de 1871 à 1914. Paris, 1998. P. 168-187.
Saint-Victor P. de. Le Salon (Histoire et Religion) // L’année artistique. Année 1878 (-1882). Année 2, par Victor Champier, 1879-1882. P. 71-124.
Wolz A. Le Salon // Le Figaro, 1879. 11 Mai.

Abstract: In the early Christian and medieval art of Europe the Old Testament's story of the Fall was one of the most famous. Its iconography developed already in the III-IVth centuries. The composition was fixed and excluded any inessential elements. Every small detail was important and allowed an adequate interpretation and visualization of the biblical text. That being said, the absence of a common view when identifying and depicting such important parts of the plot as the Tree of Knowledge of Good and Evil and its «forbidden fruit» seems odd. The author of the article analyzes basic depiction methods of the «forbidden fruit» that were widely used in European painting of the III-XIIIth centuries. The classification proposed by the author includes three types of images that can be characterized in the following way: 1) absence of a visual fixation on fruit (the Tree of Knowledge of Good and Evil is either portrayed without any fruit or the fruit is indistinguishable and unidentifiable); 2) attempt to depict something abstract, a fruit that does not exist or is unknown to mankind (that is to say – an attempt to find a visual equivalent of the biblical definition of fruit); 3) identification of the "forbidden fruit" with the fruit that exists in reality. The author supports her iconographic analysis of a wide range of paintings by appealing to apocryphal texts, theological treatises, spoken and written legends. Despite the fact that iconography of the Fall had been already developed in the early Christian period, the common method of depicting the 'forbidden fruit' was not developed throughout the first centuries of European art. Following the text of Genesis, Bible interpretations and commentaries and oral traditions, the art of that time offered the answers not only to the questions about the image or the name of the «forbidden fruit» but also about its meaning and symbolism. They can be interpreted as a reflection of the socio-cultural context of the era, belief systems and values of a particular region of Western Europe in a particular historical period.

Keywords: visualization, depiction methods, the Fall, forbidden fruit, tree of knowledge, identification, European painting, biblical plot, genesis, medieval art

References:
Irvin J.R. The Holy Mushroom. Gnostic Media Research & Publishing, United States, 2009. 188 p.
Franco Júnior H. Entre la figue et la pomme : l’iconographie romane du fruit défendu // Revue de l’histoire des religions, 223-1/2006, p. 29-70.
Brundage, James A. Law, sex, and Christian Society in Medieval Europe. Chicago: University of Chicago Press, 1987. 674 p.
Flores N. “Virgineum vultumhabens”: The Woman-Headed Serpent in Art and Literature from 1300 to 1700. IPhil.diss. llinois 1988. 201 r.
Allegro, John M. The Sacred Mushroom and the Cross: A Study of the Nature and Origins of Christianity Within the Fertility Cults of the Ancient Near East. London: Hodder and Stoughton, 1970. 416 p.
Entsiklopediya simvoliki i geral'diki. URL: http://www.symbolarium.ru/index.php (data obrashcheniya: 20.09.2016).
Shalev, Meir. Vpervye v Biblii. M.: Tekst, Knizhniki, 2010. 413 s.
Tolkovaya Bibliya, ili Kommentariy na vse knigi Svyashchennogo Pisaniya Vetkhogo i Novogo Zaveta: T. 1—12 / Pod red. A.P. Lopukhina. SPb.: Pech. graf. in-ta Lukshevich, 1904—1913 URL: http://www.bible.in.ua/underl/Lop (data obrashcheniya: 19.09.2016).
Nessel'shtraus Ts.G. Iskusstvo Zapadnoy Evropy v Srednie veka. M-L. Iskusstvo, 1964. 390 s.
Otkrovenie Varukha. // Apokrificheskie apokalipsisy. Per., sost., vstup. stat'ya: M.G. Vitkovskaya, V.E. Vitkovskiy. SPb.: Aleteyya, 2000. 265 s.
Lazarev V.N. Istoriya vizantiyskoy zhivopisi. M.: Iskusstvo, 1986. 329 s.
Kaspina M.M. Syuzhety ob Adame i Eve v svete istoricheskoy poetiki. Na materiale drevney i srednevekovoy evreyskoy i slavyanskoy knizhnosti // Diss. kand. filolog, nauk. M., 2001. URL: http://www.ruthenia.ru/folklore/caspina4.htm (data obrashcheniya: 15.09.2016).
Voskoboynikov O.S. Svoboda srednevekovogo iskusstva (neskol'ko metodologicheskikh razmyshleniy) // Novoe literaturnoe obozrenie. 2009. ¹ 5. S. 23-58.
Blazhennyy Avreliy Avgustin. O knige Bytiya // Blazhennyy Avgustin. Tvoreniya. (Biblioteka ottsov i uchiteley tserkvi). M., «Palomnik». 1997. 831 c. URL: http://azbyka.ru/otechnik/Avrelij_Avgustin/o-knige-bytija (data obrashcheniya: 09.09.2016).
Rush J. A. The Mushroom in Christian Art: The Identity of Jesus in the Development of Christianity. North Atlantic Books; Pap/DVD edition, 2011. 400 r.
Wasson R. G., Ruck C. A., Hofmann A.. The Road to Eleusis: Unveiling the Secret of the Mysteries. New York: Harcourt, 1978. 192 p.

References (transliteration):
Irvin J.R. The Holy Mushroom. Gnostic Media Research & Publishing, United States, 2009. 188 p.
Franco Júnior H. Entre la figue et la pomme : l’iconographie romane du fruit défendu // Revue de l’histoire des religions, 223-1/2006, p. 29-70.
Brundage, James A. Law, sex, and Christian Society in Medieval Europe. Chicago: University of Chicago Press, 1987. 674 p.
Flores N. “Virgineum vultumhabens”: The Woman-Headed Serpent in Art and Literature from 1300 to 1700. IPhil.diss. llinois 1988. 201 r.
Allegro, John M. The Sacred Mushroom and the Cross: A Study of the Nature and Origins of Christianity Within the Fertility Cults of the Ancient Near East. London: Hodder and Stoughton, 1970. 416 p.
Entsiklopediya simvoliki i geral'diki. URL: http://www.symbolarium.ru/index.php (data obrashcheniya: 20.09.2016).
Shalev, Meir. Vpervye v Biblii. M.: Tekst, Knizhniki, 2010. 413 s.
Tolkovaya Bibliya, ili Kommentariy na vse knigi Svyashchennogo Pisaniya Vetkhogo i Novogo Zaveta: T. 1—12 / Pod red. A.P. Lopukhina. SPb.: Pech. graf. in-ta Lukshevich, 1904—1913 URL: http://www.bible.in.ua/underl/Lop (data obrashcheniya: 19.09.2016).
Nessel'shtraus Ts.G. Iskusstvo Zapadnoy Evropy v Srednie veka. M-L. Iskusstvo, 1964. 390 s.
Otkrovenie Varukha. // Apokrificheskie apokalipsisy. Per., sost., vstup. stat'ya: M.G. Vitkovskaya, V.E. Vitkovskiy. SPb.: Aleteyya, 2000. 265 s.
Lazarev V.N. Istoriya vizantiyskoy zhivopisi. M.: Iskusstvo, 1986. 329 s.
Kaspina M.M. Syuzhety ob Adame i Eve v svete istoricheskoy poetiki. Na materiale drevney i srednevekovoy evreyskoy i slavyanskoy knizhnosti // Diss. kand. filolog, nauk. M., 2001. URL: http://www.ruthenia.ru/folklore/caspina4.htm (data obrashcheniya: 15.09.2016).
Voskoboynikov O.S. Svoboda srednevekovogo iskusstva (neskol'ko metodologicheskikh razmyshleniy) // Novoe literaturnoe obozrenie. 2009. ¹ 5. S. 23-58.
Blazhennyy Avreliy Avgustin. O knige Bytiya // Blazhennyy Avgustin. Tvoreniya. (Biblioteka ottsov i uchiteley tserkvi). M., «Palomnik». 1997. 831 c. URL: http://azbyka.ru/otechnik/Avrelij_Avgustin/o-knige-bytija (data obrashcheniya: 09.09.2016).
Rush J. A. The Mushroom in Christian Art: The Identity of Jesus in the Development of Christianity. North Atlantic Books; Pap/DVD edition, 2011. 400 r.
Wasson R. G., Ruck C. A., Hofmann A.. The Road to Eleusis: Unveiling the Secret of the Mysteries. New York: Harcourt, 1978. 192 p.

Abstract: This article focuses on the study of the similarity of the circumstances of the art world in the Soviet Union and South Korea 1960-70s., when started to be formed the new movement in the history of contemporary art in the two countries. Because of different administrative and canonical obstacles to creative activity of young artists, who are not consistent with outdated principles of art, the artists of the new generation had to find a breakthrough from the stagnant state of the art scene in their countries. In the course of struggle to solve the problems, similar approaches are observed. In order to clarify and show the similarities, which were observed in the history of the two distant countries, the author uses the method of comparative analysis of historical materials. A special contribution of the author's research theme is that despite the great distance between the Russian Federation and the Republic of Korea, the author was able to find a common feature in the history of contemporary art of the two countries. In both countries, the same was observed commensalism amongst leading artists and the political authorities. Consequently, the artists of two countries whose work has been distant from the requirements of the official art world, had to develop a similar strategy for the resistance to the circumstances and for the survival of his courier as an artist. The use of open space was their general strategy.

Keywords: performance, actionism, comparative analysis, On-Wall Exhibition, Bulldozer Exhibition , contemporary art of Russia, contemporary art of Korea, Soviet recusant art, underground art of the USSR, art of the XXth century

References:
오상길 편, 『한국현대미술 다시 읽기 Ⅳ』, 제1권(서울: ICAS, 2004)
MOSCOW ARTISTS REGAIN PAINTINGS, Special to The New York Times page 9., The New York Times, September 19, 1974
Vorob'ev V. Bul'dozernyy performans [elektronnaya versiya] // Nezavisimaya gazeta 17. 09. 2004 URL: http://www.ng.ru/saturday/2004-09-17/15_perfomance.html
Allatova I., Talochkin L., Tamruchi N., «Drugoe iskusstvo» Moskva 1956-1988. M., 2005.
Buzukashvili M. Aleksandr Glezer. K 35-letiyu «bul'dozernoy» vystavki. Interv'yu. [elektronnaya versiya] // Chayka. 2009. ¹ 19 (150) URL: http://www.chayka.org/node/2500
Bode M., Barabanov E., Alekseev N., Osmolovskiy A., Tochka otscheta // Iskusstvo. 2004. ¹ 4.
Bode M. besed s Fedorovom-Roshalom. Potom bylo ne tak strashno // Iskusstvo. 2004. ¹ 4.

References (transliteration):
오상길 편, 『한국현대미술 다시 읽기 Ⅳ』, 제1권(서울: ICAS, 2004)
MOSCOW ARTISTS REGAIN PAINTINGS, Special to The New York Times page 9., The New York Times, September 19, 1974
Vorob'ev V. Bul'dozernyy performans [elektronnaya versiya] // Nezavisimaya gazeta 17. 09. 2004 URL: http://www.ng.ru/saturday/2004-09-17/15_perfomance.html
Allatova I., Talochkin L., Tamruchi N., «Drugoe iskusstvo» Moskva 1956-1988. M., 2005.
Buzukashvili M. Aleksandr Glezer. K 35-letiyu «bul'dozernoy» vystavki. Interv'yu. [elektronnaya versiya] // Chayka. 2009. ¹ 19 (150) URL: http://www.chayka.org/node/2500
Bode M., Barabanov E., Alekseev N., Osmolovskiy A., Tochka otscheta // Iskusstvo. 2004. ¹ 4.
Bode M. besed s Fedorovom-Roshalom. Potom bylo ne tak strashno // Iskusstvo. 2004. ¹ 4.

Abstract: The object of the present research is the famous Parisian music theatre “Opera-Comique” which has celebrated its 300th anniversary this year. The author traces back the history of the theatre and describes the main stages of its development and its role in the history of music and theatre art in France. Attention is paid to the repertoire policy of the theatre during those three centuries as well as to the famous productions, important for opera history, the first nights of “Carmen” by Bizet, “Manon” by Massenet, “Pelleas and Melizande” by Debussy and others. Information is given about the works of Russian composers - Musorgsky, Borodin, Rimsky-Korsakov which were staged in the theatre and about Russian opera artists who performed on this stage. While preparing for the research, work has been done to find more information, electronic archives of the theatre “Opera-Comique” as well as the first-hand sources such as memoires of a number of musicians have been studied. The main methods of research involve textual and semantic analysis of the sources and historical and cultural analysis of the context of the theatre’s activity. The novelty of the present research is caused by the fact that in our country it is the first systematic analysis and description of the history of the Parisian music theatre “Opera-Comique” since its foundation till our days giving the full idea of all periods and important events in its history. This research is an innovative project of presenting empirical facts as an evidence of historical dynamics of culture and evolution of a cultural form in a combination of synchronic and diachronic analysis.

Keywords: music, music theatre, Opera-Comique, comic Opera, genre, history, opera, culture of France, art, Paris

References:
Annenkov Yu. Dnevnik moikh vstrech. Tsikl tragediy v 2-kh tt. L., 1991.
Verdi D. Izbrannye pis'ma. M., 1959.
Dimitrin Yu. Karmen v pervyy raz. SPb., 2013.
Kotlyarov Yu., Garmash V. Letopis' zhizni i tvorchestva F.I.Shalyapina. V 2-kh kn. L. 1989
Krakauer Z. Zhak Offenbakh i Parizh ego vremeni. M., 2000.
Kremlev Yu. Zhyul' Massne. M., 1969.
Medvedeva I. Fransis Pulenk. M., 1969.
Tsodokov E. Opera. Entsiklopedicheskiy slovar'. M., 1999.
Tsodokov E. Gruzinskiy knyaz' i russkaya opera. A.Tsereteli. //URL http://www.operanews.ru/history25.html
Chaykovskiy P. I. Ob opere. M., 1952.
Les Archives de l’Opera Comique //URL https://dezede.org/
Mary Garden's Story. London, 1951
Massenet J. Mes souvenirs. Paris, 1912. S. 73, 168

References (transliteration):
Annenkov Yu. Dnevnik moikh vstrech. Tsikl tragediy v 2-kh tt. L., 1991.
Verdi D. Izbrannye pis'ma. M., 1959.
Dimitrin Yu. Karmen v pervyy raz. SPb., 2013.
Kotlyarov Yu., Garmash V. Letopis' zhizni i tvorchestva F.I.Shalyapina. V 2-kh kn. L. 1989
Krakauer Z. Zhak Offenbakh i Parizh ego vremeni. M., 2000.
Kremlev Yu. Zhyul' Massne. M., 1969.
Medvedeva I. Fransis Pulenk. M., 1969.
Tsodokov E. Opera. Entsiklopedicheskiy slovar'. M., 1999.
Tsodokov E. Gruzinskiy knyaz' i russkaya opera. A.Tsereteli. //URL http://www.operanews.ru/history25.html
Chaykovskiy P. I. Ob opere. M., 1952.
Les Archives de l’Opera Comique //URL https://dezede.org/
Mary Garden's Story. London, 1951
Massenet J. Mes souvenirs. Paris, 1912. S. 73, 168

Abstract: the article focuses on expressionism – an artistic direction which emerged in the first decades of XXth century. Retrospectives into the history of expressionism are linked to a conference which was devoted to one of the German expressionists, H. Walden, and which was held by the National History of Arts Institute. The article accents the fate of expressionism in the Soviet Union, in which the German expressionism had a significant impact and influenced numerous artists. However, it would not be correct to assert that it was as influential there as in Germany. The author attempts to determine the reasons why expressionism became a medium for mainly the expression of German spirit, and not the Russian one. This sort of view allows to point out the differences between the two unique cultures – the Russian and the German ones, which, however, have many common traits.

Keywords: culturology, culture, super-sensual, expressionism, positivism, romantism, avant-garde, archaic, mysticism, messianism.

Contact information: Khrenov Nikolai Andreevich, 125009, Russian Federation, Moscow, Kozitskiy Pereulok, 5.

References:
1. Avangard v kul'ture KhKh veka (1900 – 1930 gg.). Teoriya. Istoriya. Poetika / Otv. red. Yu.N. Girin).
M., 2010. T. 1–2;
2. Boyko Sh. Pochemu ekspressionizm oboshel Rossiyu i russkiy avangard? // Russkiy avangard
1910–1920-kh godov i problema ekspressionizma. M., 2003;
3. Val'tsel' O. Impressionizm i ekspressionizm v sovremennoy Germanii. 1820–1920. Pg., 1922;
4. Vakar I. Kubizm i ekspressinizm – dva polyusa avangardnogo soznaniya // Russkiy avangard
1910–1920-kh godov i problema ekspressionizma. M., 2003;
5. «Vernite mne svobodu!». Deyateli literatury i iskusstva Rossii i Germanii – zhertvy
stalinskogo terrora. Memorial'nyy sbornik dokumentov iz byvshego KGB. M., 1997;
6. Gauzenshteyn V. Ob ekspressionizme v zhivopisi // Ekspressionizm / Pod red. N. Braudo
i N. Radlova. Pg.-M., 1923;
7. Zivel'chinskaya L. Ekspressionizm. M.-L., 1931;
8. Mosse D. Natsizm i kul'tura. Ideologiya i kul'tura natsional-sotsializma. M., 2010;
9. Pestova N. Lirika nemetskogo ekspressionizma: profili chuzhesti. Ekaterinburg, 1999;
10. Polevoy V. Realii, utopii i khimery iskusstva KhKh veka // Moskva – Berlin. 1900–1960. M.,
1996;
11. Pyshnovskaya Z. Russkaya literatura i nemetskie khudozhniki– ekspressionisty // Modernizm.
Avangard. Postmodernizm. M., 2008;
12. Rossiya i Germaniya v KhKh veke. V 3-kh t.. t. 2. Burnye proryvy i razbitye nadezhdy. Russkie
i nemtsy v mezhvoennye gody., M., 2010. ;
13. Russkiy avangard 1910–1920-kh godov i problema ekspressionizma / Otv. red. G.F. Kovalenko.
M., 2003;
14. Sarab'yanov D. V ozhidanii ekspressionizma i ryadom s nim // Russkiy avangard 1910–1920-kh godov
i problema ekspressionizma. M., 2003;
15. Terekhina V. Ekspressionizm i futurizm: russkie realii. V kn. : Russkiy avangard 1910–
1920-kh godov i problema ekspressionizma. M., 2003;
16. Turchin V. Ekspressionizm: drama lichnosti // Po labirintam avangarda. M., 1993;
17. Turchin V. Kandinskiy v Rossii. M., 2005;
18. Shpengler O. Zakat Evropy. Ocherki morfologii mirovoy istorii. M., 1993;
19. Ekspressionizm / Pod red. E. Braudo i N. Radlova. Pg.-M., 1923;
20. Ekspressionizm. Sbornik statey / Otv. red. B.I. Zingerman. M., 1966;
21. Entsiklopedicheskiy slovar' ekspressionizma. M., 2008.

References (transliteration):
1. Avangard v kul'ture KhKh veka (1900 – 1930 gg.). Teoriya. Istoriya. Poetika / Otv. red. Yu.N. Girin).
M., 2010. T. 1–2;
2. Boyko Sh. Pochemu ekspressionizm oboshel Rossiyu i russkiy avangard? // Russkiy avangard
1910–1920-kh godov i problema ekspressionizma. M., 2003;
3. Val'tsel' O. Impressionizm i ekspressionizm v sovremennoy Germanii. 1820–1920. Pg., 1922;
4. Vakar I. Kubizm i ekspressinizm – dva polyusa avangardnogo soznaniya // Russkiy avangard
1910–1920-kh godov i problema ekspressionizma. M., 2003;
5. «Vernite mne svobodu!». Deyateli literatury i iskusstva Rossii i Germanii – zhertvy
stalinskogo terrora. Memorial'nyy sbornik dokumentov iz byvshego KGB. M., 1997;
6. Gauzenshteyn V. Ob ekspressionizme v zhivopisi // Ekspressionizm / Pod red. N. Braudo
i N. Radlova. Pg.-M., 1923;
7. Zivel'chinskaya L. Ekspressionizm. M.-L., 1931;
8. Mosse D. Natsizm i kul'tura. Ideologiya i kul'tura natsional-sotsializma. M., 2010;
9. Pestova N. Lirika nemetskogo ekspressionizma: profili chuzhesti. Ekaterinburg, 1999;
10. Polevoy V. Realii, utopii i khimery iskusstva KhKh veka // Moskva – Berlin. 1900–1960. M.,
1996;
11. Pyshnovskaya Z. Russkaya literatura i nemetskie khudozhniki– ekspressionisty // Modernizm.
Avangard. Postmodernizm. M., 2008;
12. Rossiya i Germaniya v KhKh veke. V 3-kh t.. t. 2. Burnye proryvy i razbitye nadezhdy. Russkie
i nemtsy v mezhvoennye gody., M., 2010. ;
13. Russkiy avangard 1910–1920-kh godov i problema ekspressionizma / Otv. red. G.F. Kovalenko.
M., 2003;
14. Sarab'yanov D. V ozhidanii ekspressionizma i ryadom s nim // Russkiy avangard 1910–1920-kh godov
i problema ekspressionizma. M., 2003;
15. Terekhina V. Ekspressionizm i futurizm: russkie realii. V kn. : Russkiy avangard 1910–
1920-kh godov i problema ekspressionizma. M., 2003;
16. Turchin V. Ekspressionizm: drama lichnosti // Po labirintam avangarda. M., 1993;
17. Turchin V. Kandinskiy v Rossii. M., 2005;
18. Shpengler O. Zakat Evropy. Ocherki morfologii mirovoy istorii. M., 1993;
19. Ekspressionizm / Pod red. E. Braudo i N. Radlova. Pg.-M., 1923;
20. Ekspressionizm. Sbornik statey / Otv. red. B.I. Zingerman. M., 1966;
21. Entsiklopedicheskiy slovar' ekspressionizma. M., 2008.

Abstract: In 2012 it is going to turn 100 years since simulateniusm was founded. Simultaneism is one of the avantgarde movements in art of ÕÕ century, one of the founders of which was Robert Delaunay. Being born at the junction of art and science and being based on the theory of light and color by French chemist Michel Eugène Chevreul, simultaneism armed people of art with completely new expressive methods of artistic language and inß uencing the audience. Expirements with simultaneous contrasts and forms allowed to depict the illusion of movement in art. Figurative art was changed into transformative art. Leger’s film ‘Mechanic Ballet’ clearly proved that the principles of simultaneism could be used in the black-in-white cinematograph. He used a certain form of film editing built on quick connection of fixed fragments (which was called ‘simaltenous editing’ in cinematograph). This particular article is aimed at clarying the definition of simultaneism and showing certain aspects of its implementation in art.

Keywords: history of art, simultaneism, movement, film editing, fine arts, cinematograph, illusion, color, Robert Delaunay, Fernand Leger.

References:
1. Vinogradov V. V. Frantsuzskiy kinoavangard 1920-kh godov i neoavangard «novoy volny» kak faktory raz-
vitiya vyrazitel'nykh sredstv kinematografa: Diss. … dokt. iskusstvovedeniya. M.: Vserossiyskiy
gosudarstvennyy universitet kinematografii imeni S. A. Gerasimova, 2011.
2. Kuzin V. S. Psikhologiya: Uchebnik / Pod red. B. F. Lomova. Izd. 2-e, pererab. i dop. M.: Vyssh. shkola, 1982.
3. Yampol'skiy B. M. Pamyat' Tiresiya. Intertekstual'nost' i kinematograf. M.: RIK Kul'tura, 1993.
4. Alexandrian S. Marcel Duchamp. Paris: Flammarion, 1976.
5. Baron S., Damase J. Sonia Delaunay: the Life of an Artist. New York: H. N. Abrams, 1995.
6. Chevreul M. E. The Principles of Harmony and Contrast of Colours, and Their Applications to the Arts. London:
Henry G. Bohn, York street, Covent garden, 1860.
7. Chevreul M. E. De la loi du contraste simultané. Paris: Pitois-Levrault, 1839.
8. Damase J. Sonia Delaunay: Fashion and Fabrics. New York: H. N. Abrams, 1991.
9. Delaunay R. Du cubisme à l’art abstrait / Documents inédits publiés par P. Francastel. Paris: S.E.V.P.E.N., 1957.
10. Der Blaue Reiter. Siniy vsadnik / Pod redaktsiey V. Kandinskogo i F. Marka. Myunkhen, 1912. Perevod,
kommentarii i stat'i Z. S. Pyshnovskoy. M.: Izobrazitel'noe iskusstvo, 1996.
11. Golding J. Le cubisme. Paris: Julliard, 1965.
12. Lawder S. The Cubist Cinama. N. Y.: New York University Press, 1975.
13. Léger F. Fonctions de la peinture. P.: Gonthier, 1965.
14. Schmalenbach W. Fernand Léger. P.: Cercle d’art, 1977.

References (transliteration):
1. Vinogradov V. V. Frantsuzskiy kinoavangard 1920-kh godov i neoavangard «novoy volny» kak faktory raz-
vitiya vyrazitel'nykh sredstv kinematografa: Diss. … dokt. iskusstvovedeniya. M.: Vserossiyskiy
gosudarstvennyy universitet kinematografii imeni S. A. Gerasimova, 2011.
2. Kuzin V. S. Psikhologiya: Uchebnik / Pod red. B. F. Lomova. Izd. 2-e, pererab. i dop. M.: Vyssh. shkola, 1982.
3. Yampol'skiy B. M. Pamyat' Tiresiya. Intertekstual'nost' i kinematograf. M.: RIK Kul'tura, 1993.
4. Alexandrian S. Marcel Duchamp. Paris: Flammarion, 1976.
5. Baron S., Damase J. Sonia Delaunay: the Life of an Artist. New York: H. N. Abrams, 1995.
6. Chevreul M. E. The Principles of Harmony and Contrast of Colours, and Their Applications to the Arts. London:
Henry G. Bohn, York street, Covent garden, 1860.
7. Chevreul M. E. De la loi du contraste simultané. Paris: Pitois-Levrault, 1839.
8. Damase J. Sonia Delaunay: Fashion and Fabrics. New York: H. N. Abrams, 1991.
9. Delaunay R. Du cubisme à l’art abstrait / Documents inédits publiés par P. Francastel. Paris: S.E.V.P.E.N., 1957.
10. Der Blaue Reiter. Siniy vsadnik / Pod redaktsiey V. Kandinskogo i F. Marka. Myunkhen, 1912. Perevod,
kommentarii i stat'i Z. S. Pyshnovskoy. M.: Izobrazitel'noe iskusstvo, 1996.
11. Golding J. Le cubisme. Paris: Julliard, 1965.
12. Lawder S. The Cubist Cinama. N. Y.: New York University Press, 1975.
13. Léger F. Fonctions de la peinture. P.: Gonthier, 1965.
14. Schmalenbach W. Fernand Léger. P.: Cercle d’art, 1977.

Abstract: The article is devoted to the mutual relations which are being formed today between a booming ‘science about culture’ and art disciplines such as art history. Acknowledging the crisis of modern historical science (as well as art history) as a sub subject of natural science, the author tries to go back to historian of art Igor Grabar’s useful methodological thesis saying that history of art is a history of culture at the same time. According to the author of the article, today this thesis gives certain leads for historians but also demands a deeper insight into methodological matters.

Keywords: cultural studies, modern, post-modern, historical psychology, esthetics, structuralism, myth, social studies of art, history of art history, art studies

Contact information: Khrenov Nikolay Andreevich, nihrenov@mail.ru