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The imperial academy of arts. the heritage

╚Antiq.Info╩ magazine continues publishing articles dedicated to 250th anniversary of the Russian Academy of Arts. Many things have changed in the life of the Academy since its foundation; however, its highly professional staff always abided by the basic pedagogical principles that granted students knowledge and skill as well as understanding of the importance of an artist▓s mission.

The educational system of the Imperial Academy of Arts in XVIII√XIX centuries was based on principles established by the Royal Academy of Painting and Sculpture in Paris (Acad?mie royale de peinture et de sculpture). However, the Russian Academy of Arts was also oriented on Italian art academies, the Bologna Academy of Arts in the first place.

In its early years (during the presidency of Count Shuvalov and Ivan Betskoi), the Academy cultivated many prominent classicist artists. Ivan Shuvalov passed a comprehensive selection of West European art pieces and books from his private collection for the needs of the Academy. During his European trips, Shuvalov used to purchase important classic sculptures or ordered their copies.

Many of those rare art pieces are still kept at the Academy. His collection featured works by Rembrandt, Anthony van Dyck, Nicolas Poussin, Tintoretto, Paolo Veronese, Luca Giordano, Guercino, Bassano, Raphael Sanzio▓s portrait by Pietro Perugino, etc. Specially for the academic library Shuvolov acquired a number of important books on theory and history of art including ╚Due regole della prospettiva pratica╩ (╚Two rules of practical perspective╩, published in Bologna in 1583) by famous Italian architect and writer Giacomo Barozzi da Vignola, a work on anatomy in Latin ╚De humani corporis Fabrica libri X tabulis aere icisis exornati╩ (published posthumously in 1627 in Venice) by a Flemish anatomist Adriaan van den Spiegel, several works in French by Italian artist and art theorist Pietro di Gottardo Gonzago (published in St. Petersburg in 1807).

Students of the Academy practiced their drawing skills round the year ≈ from two to four hours daily, depending of the age. First, students copied prints after classical sculptures, becoming familiar with the principles of contour, light, and shade.

The copy was believed crucial to the academic education; from copying works of past artists one would assimilate their methods of art making. To advance to the next step, and every successive one, students presented drawings for evaluation. If approved, they would then draw from plaster casts of famous classical sculptures. Only after acquiring these skills were artists permitted entrance to classes in which a live model posed.

To learn to paint with a brush, the student first had to demonstrate proficiency in drawing, which was considered the foundation of academic painting. Only then could the pupil join the studio of an academician and learn how to paint. Throughout the entire process, competitions with a predetermined subject and a specific allotted period of time measured each students▓ progress.

The students used to copy engravings by prominent masters representing pictures and drawings by Raphael Sanzio, Tintoretto, Carracci and others. Of course, authentic pictures and drawings by famous artists were copied as well. Thus, professors of the Academy of Arts paid a lot of attention to draftsmanship. Many professors and teachers believed that drawing skills were the most important abilities for future artists. Among the adherents of such approach to academic activities were rector of the Academy of Arts F.I. Iordan, great Russian painter Carl Brullov and many others.

As it was mentioned above, students of the Academy of Arts spent a lot of time drawing live models. As a rule, the models were well-built men; otherwise, the future artists had to ╚improve╩ body of a model in the picture in order to meet idealistic requirements set by the classicist style. Classicist aesthetics demanded harmony of a body and soul.

In 1794 Privy Counselor Count A.I. Mussin-Pushkin, the head of the Most Holy Governing Synod took a position of the President of the Academy of Arts. Mussin-Pushkin was a prominent collector of old manuscripts and documents.

Among the highlights of his extremely comprehensive collection was ╚The Tale of Igor▓s Campaign╩, an anonymous masterpiece of East Slavic literature written in the Old East Slavic language and tentatively dated to the end of 12th century. The President established a special reward paid from his own salary for the best artwork created by the members of the Academy.

Those pieces were displayed at the showrooms of the Academy and then returned to the authors. Mussin-Pushkin had been in charge of the institution only for three years; then French diplomat Privy Counselor Chouselle-Goufier took his position.

Count Chouselle-Goufier was a connoisseur of classic art, author of research works and books on the history of Ancient Greece. Unfortunately, he did not speak Russian; all documents related to the life of the Academy had to be translated in French. Moreover, the new President prioritized foreign artists and teachers to the detriment of the Russian ones.

His contemporaries believed that he did not pay proper attention to the needs of the Academy. However, he established the free drawing course for people of different ranks and social statuses. In 1800 he left his position and returned to France.

The ╚golden age╩ of the Academy of Arts is connected with Alexander Sergeyevich Stroganov √ renowned connoisseur and patron of arts. Count Stroganov (1733√1811) was a member of the commission on elaborating the new code of laws during the reign of Catherine the Great. In the late 18th √ early 19th century, he held different posts, such as president of the Russian Academy of Sciences, art director of the Public Library, and member of the State Council.

Through 1800√1811 when he was the President of the Imperial Academy of Arts, Stroganov engaged the best national artists to teach at the Academy. During his presidency, apprenticeship was reduced for twelve years; students of 8√9 years old could enter the Academy. The social role and importance of the Academy essentially increased at the time. All projects concerning erection of monuments and important buildings in the Russian Empire had to receive approval of the Academy. Graduates of the Academy were favoured among the other artists, including the foreign ones.

The Academy opened a number of branches in Russian provinces. School headed by painter A. Stupin, a graduate of the Academy was opened in Arsamas.

Being the chairman of the Construction Commission of the Kazan Cathedral in St. Petersburg (the cathedral was dedicated to Our Lady of Kazan, an icon which the Russian Orthodox Church probably venerates the most), Stroganov generously paid painters and sculptors who took part in creation of the important monument. The church was modelled by Andrey Voronikhin after St. Peter▓s Basilica in Rome. Although the Russian Orthodox Church strongly disapproved of the plans to create a replica of the Popish cathedral in the Russian capital, several courtiers infatuated with Roman Catholicism supported Voronikhin▓s Empire Style design.

The construction was started in 1801 and continued for ten years. Among the most celebrated artists of the age were painters Egorov, Shebuev, Kiprensky, Varnek, Venetsianov, sculptors Kashchenko, Pimenov the Elder, architects Mikhailov, Zakharov and Voronikhin. Many of them received the honorable title of the member of Roman Academy of Arts.

Interestingly, celebrated Russian sculptor Fedor Shubin was ennobled due to his talent during Stroganov▓s presidency, while a nobleman Count F.P. Tolstoi chose to be become an artist. Although many noblemen disapproved of Tolstoi▓s decision (as it was blameworthy for an aristocrat to be an artist), the latter became a prominent medalist and later the Vice-President of the Academy.

The first decades of XIX century were anything but simple for the Imperial Academy due to complicated international situation and other factors. In 1817, soon after the end of 1812 Napoleonic war, A.N. Olenin, Actual Privy Counselor became the President of the Academy. He devoted his life to popularization of art in the high society, and strived to implant good taste to the wide public.

In 1820 he founded ╚Artist Encouragement Society╩, which was aimed to help gifted Russian artists. Famous Russian painters Carl Brullov and Alexander Ivanov (the author of the celebrated painting ╚Appearance of Christ before the People╩) were send abroad for studying at the expenses of the Society.

Olenin ordered copies of classic sculptures from abroad, preserved the already purchased works of art in perfect condition and also established the so-called ╚Costume Chamber╩, which included his collection of costumes, arms and armour. The President revived theatrical and musical performances, which were often visited by recognized poets of the age I.A. Krylov, N.I. Gnedich, K.N. Batuishkov and others. During his presidency the Academy▓s art collection was seriously enlarged due to donations of Count V.G. Orlov, V.V. Mussin-Pushkin-Bruce and other patrons of art.

Since 1829 the Academy of Arts was supervised by the Ministry of Imperial Court. Being a worshipper of art, Emperor Nicolas I took the Academy under his wing. He initiated a number of reforms that improved academic activities.

Since 1840s and up to the 1917 February Revolution Academy of Arts was run by members of the royal family: Maximilian, Duke of Leuchtenberg, Grand Duchess Maria Nikolaevna (Duchess of Leuchtenberg), Grand Duke Vladimir Alexandrovich, Grand Duchess Maria Pavlovna. Maximilian, Duke of Leuchtenberg launched the first exhibition of artworks from private collections in Russia, established the Mosaic Department at the Academy, founded the Moscow art school and private schools in Russian provinces.

In 1859 Grand Duchess Maria Nikolaevna introduced new regulations that extended functions and purposes of the Academy. The Grand Duchess launched a display of rare and unique art pieces from royal palaces and manors, proceeds from which went to benefit underprivileged artists.

At the time, professors and students of the Imperial Academy of Arts started to take part in international art exhibitions. In 1893 Grand Duke Vladimir Alexandrovich introduced new regulations and initiated radical reforms of Academy▓s educational system. At all times Academy▓s training was considered indispensable for development of basic professional skills.

To be continued