| Konstantin |
30-09-2011 16:58 |
That's what gives the Internet:
Quote:
Tash: The masks, which you, dear Sasha, write, everything is not simple and straightforward. Those that survived, as a rule, there are loops, and STEEL! Consequently, they are not the first low tide!
Sasha: Yes, dear Tasha! And cami original masks! Then later as a whitewash, at the instance Khitrova, different, toned, - Zhukovsky, but it? In Tartu and Orenburg, too, seems to be late. Something about them says in a recent study Fevchuk LP, in 1962, in "Pushkin and his time." GMF insists on the primacy of Moscow is an instance of ... About PHB can not say anything - and there late ebb. It is difficult to determine since the creation of second ebb, not to mention the fact, whether he kept the original, and that is VA, as the initiator of removing the mask, sohryanil it for yourself.
Tasha: We are going now with our staff do funds all of these issues.
Cat: Dear Sasha! LP Fevchuk you mentioned in article 1962 "The first sculptures of Pushkin's" treats all these masks to mask your first low tide. By the way the works Terebenev she does not even mention.
Tasha: Muskie first low tide, according to molders, it is the first 5 masks made of plaster, of a wax form made from the face. While the cast could not be white. In addition, while no one was attached to the mask (it delaetsyav during manufacturing, while still wet plaster), no cords or wires, since nobody thought to hang it on the wall! But now where those first mask?
Sasha: And the masks with wire numbers and went in the 1950s they could buy. In "The Pokrovsky Gates", taken by L. Zorin Kozakov, if you remember, over the bed hangs a plaster Kostya mask Pushkin.
Cat: Dear Sasha! I looked up the article Samoilov. There really is no reference (as in the other articles in this volume). Judging by how he writes, it is conceivable that he had seen the paper in the archive Terebenev Academy of Arts and archival options, either.
Tasha: I draw your attention to some significant uncertainties in the memoirs of MF Kamensky, which for some reason we trust, believing that as the daughter of the sculptor, it can distinguish between the bust of the statue. So, she wrote: "In my opinion, invaluable bust of Pushkin fashioned young sculptor Terebenev thus subsequently izukrasil Hermitage and its caryatids statues of great artists. Terebenev as a particularly caught in this type of bust and face of Pushkin, he is exactly the how I remember him in Tsarskoe Selo, during our first acquaintance with him. (Istorchesky Herald. 1894, X, 54). Perhaps she called a bust figure, since she was small. And that is why the newspaper wrote that the sale not only sculpture but also the busts of Terebenev is not clear. Today, these busts are unknown!
Sasha: Thank you, dear Cat! Perhaps it is, Samoilov first discovered this letter and quoted extracts. Sorry, no full publication, but it is interesting to study the first posthumous iconography of Pushkin. Tasha M. Kamensky quotes: Hermitage izukrasil their caryatids Atlanta, too terebenevskie. Yet the tendency to Terebenev sculptures in full simple present there, from the tiny sculptures, to Huge statues.
Tasha: Yes, dear Sasha, but did not hesitate to call Kamensky Atlantis caryatids. So can we trust her when she is not writing about sculpture, a bust of Pushkin?
Sasha: That's when you start asking questions, and that in general the memoirist has in mind.
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