Latin Sources of Inspiration for 15th and 16th Century Orthodox Prints

The project studied the history of Orthodox graphic art in the context of artistic links between the Eastern and Western worlds, tracing the routes by which iconographic models from western Europe penetrated into eastern Europe and underscoring the role of central European countries in the shaping of the culture of the modern Orthodox church. One important element was the identification of graphic prototypes and export routes for woodcutting blocks which travelled from Germany via Prague, Cracow and Vilnius to Moscow and Kiev, revealing the artistic ties between followers of different religions. Another major element was a study of the appearance of copper engraving in the second half of the 17th century.

Gothic Taste and Russian Culture of the 18th Century

This project was an experiment in widening the traditional borders of study in the field and looking at the phenomenon of Gothic taste in many genres and kinds of art. The Gothic taste was a major element in the cultural image of the Enlightenment both in western Europe and in Russia. It was an essential component in the world outlook of an educated person and without studying this phenomenon it is impossible to fully understand the thinking of artistic professionals, amateurs and users in Russian society in the 18th century. Mr. Khatchatourov first analysed the reasons for the importance of Gothic taste in the culture of the European Enlightenment and then studied its linguistic and lexicographic evolution in 18th century Russian culture. He sought to determine the semantic context which actively formed the human mind set in the Enlightenment, including potential users and producers of articles in the Gothic taste. He then looked at the process of absorption of this concept by those forms of art which express it most strongly, in particular architecture and the theatre. His study was based on a comprehensive historical and culturological study using a wide range of sources, a formal stylistic method approach considering the interaction of non-classical styles of the Enlightenment with the dominant classicism, and an iconographic approach which revealed the essential aspects in a new image synthesis of the culture of the Enlightenment.

Franciszek Maczynski: a Monograph

Franciszek Maczynski was one of the best Polish architects of the early 20th century and Solewski used a wide range of materials to complete a bibliography of Maczynski's architectural, artistic and theoretical works, and a biography of the architect. From his analysis of the material collected, he concluded that Maczynski was a romantic architect, influenced by a vision to seek the essential Truth in historical patterns or artistic creativity. This determined his search for the ideal form and style in architecture, connecting 'national' and historical inspiration, the vernacular 'Zakopane Style', Gesamtkunstwek and modernistic severity. However, Maczynski worked closely with Tadeusz Stryjenski, his most important patron, who also used the 'beginner's' artistic talents, while he, as the 'boss', decided on commissions and profits. This experience led to Maczynski's involvement in the Spojnia partnership, creating simple engineering architecture and successfully locating wealthy investors. It was the liberal idea of establishing a building firm to make profits that turned Maczynski into a regular builder and entrepreneur, abandoning the romantic idea of 'artistic' or 'national' architecture. The transformation from artist to entrepreneur indeed reflected the opposition of romantic-liberal.