Art College named after Mukhina. Art College named after

Academy today

Today the university has 1,500 students and 220 teachers.

Faculties

Faculty of Decorative- applied arts
- Faculty of Monumental Art
- Faculty of Design

Story

• Founded in 1876 by rescript of Alexander II with donations from banker and industrialist Baron Alexander Ludwigovich Stieglitz (-) as Central School technical drawing .
• In 1918 the school was reorganized into Petrograd State Art and Industrial Workshops.
• In 1922 the workshops were transformed into School for architectural decoration of buildings under the city Executive Committee.
• In 1945, by government decision, the school was recreated as a multidisciplinary educational institution training artists of monumental, decorative and industrial arts, in 1948 it became a university - Leningrad Higher Art and Industrial School.
• Since 1953, LVHPU has been named after People's Artist of the USSR Vera Ignatievna Mukhina.
• In 1994, LVHPU named after. V. I. Mukhina transformed into St. Petersburg State Academy of Arts and Industry.
• In December 2006, the academy was named after Alexander Ludwigovich Stieglitz. The new name of the academy is St. Petersburg State Art and Industry Academy named after A. L. Stieglitz(SPGHPA named after A.L. Stieglitz).

Famous graduates

• Bosco, Yuri Ivanovich - Soviet artist-monumentalist, Honored Artist of Russia, People's Artist of Russia.
• Zarins, Richard Germanovich - Russian and Latvian artist, graphic artist, popularizer of Latvian folk art, author of the first revolutionary stamps Soviet Russia. Author of the coat of arms and banknotes of Latvia.
• Ostroumova-Lebedeva, Anna Petrovna - People's Artist of the RSFSR, Russian engraver and painter, watercolorist, master of landscape.
• Petrov-Vodkin, Kuzma Sergeevich - Honored Artist of the RSFSR, symbolist painter, graphic artist, art theorist, writer and teacher.
• Pisakhov, Stepan Grigorievich - Russian artist, writer, ethnographer, storyteller.
• Protopopov, Vladislav Vasilievich - Russian artist.
• Salnikov, Anatoly Aleksandrovich - Honored Architect of the Autonomous Republic of Crimea, Laureate of the Award of the Autonomous Republic of Crimea, chief architect of the city of Kerch.

Links

• http://designcomdesign.ru/ - Department of Communication Design, St. Petersburg State University of Arts and Sciences named after. A.L. Stieglitz.
• http://artisk.ru/ - Department of Art History and Cultural Studies of the St. Petersburg State University of Art and Culture named after. A.L. Stieglitz.

Sources

Wikimedia Foundation.

2010.

See what "Mukhina Art School" is in other dictionaries: In the USSR, the system of training masters of fine, decorative and industrial arts, architects, artists, art critics, artist teachers. In Rus' it originally existed in the form of individual training... ... Big

Soviet encyclopedia - (named after the philanthropist Baron A.L. Stieglitz), founded in St. Petersburg in 1876, opened in 1879, in 1922 joined the Petrograd Vkhutein. In 1945 it was recreated as the Leningrad (now St. Petersburg) Higher Artistic and Industrial... ...

encyclopedic Dictionary - (TSUTR) (Solyanoy Lane, 13 and 15), state art educational institution. Founded in 1876 (opened in 1879) together with an elementary school of drawing, drafting and modeling on the initiative and at the expense of the philanthropist Baron A. L. Stieglitz (the first ... ...

St. Petersburg (encyclopedia)

Wikipedia has articles about other people with this surname, see Pavlov. Wikipedia has articles about other people named Pavlov, Alexander Borisovich. Alexander Borisovich Pavlov (born 1963, Donetsk) Russian artist. Born into a working-class family. Since 1971... ... Wikipedia

Oleg Georgievich Atroshenko (1940 1989) Soviet artist. Graduated from the Mukhina Higher Art School with a degree in Interior Designer. He is the author of numerous interior design projects for public institutions and... ... Wikipedia

Wikipedia has articles about other people with this surname, see Vax. Joseph Aleksandrovich Vaks Professor I. A. Vaks ... Wikipedia Named after A. L. Stieglitz was founded in 1876. Now this is one of the most famous educational institutions

in Russia. The university is located in the historical part of St. Petersburg, the second largest city in the country and the main cultural center.

Start The creation of the Stieglitz Academy in St. Petersburg was associated with the rapid growth of industrial production, which embraced European countries V mid-19th

century. Semi-handicraft manufactories were replaced by factories where it became possible to produce goods in large quantities. However, it soon became clear that consumers were not just interested in utilitarian things, but in beautiful products with a memorable design. In 1851, the famous art and industrial exhibition was held in England, at which different countries presented their best products and products. Besides, ceramics, weaving, and jewelry companies presented amazing factory products made of wood, cast iron, and steel. The apotheosis of industrial achievements was the Crystal Palace: the pavilion where the exhibition took place was as if woven from a metal web and “sheathed” with large glass panels.

Birth of an art academy

Russian industrialists who visited the fair were greatly impressed. The idea of ​​creating a national school for training artists specializing in applied arts was born. In 1860, a school of technical drawing was formed on the basis of the Moscow one. However, its capabilities were clearly not enough.

According to popular opinion, the initiative to organize a specialized art and industrial educational institution in St. Petersburg was made by Senator Alexander Polovtsov, the son-in-law of the richest (according to contemporaries) banker in Russia - Baron Stieglitz. The banker liked the idea, and he established a special fund in the amount of 7 million rubles (huge money at that time), on the interest from which the Central School of Technical Drawing, created in 1876, existed. It trained decorative artists in applied disciplines and teachers of technical drawing for other schools that began to appear throughout the country. Thus, TSUTR became the progenitor of the Academy. Stieglitz.

Development

The Soviet government looked at the role differently artistic arts in industry. Any decorations were considered unnecessary, a manifestation of philistinism. In 1922, TSUTR was closed and later reformatted into a general education institution.

The rebirth of the Academy. Stieglitz occurred on 02/05/1945. On this day, courses for training restorers began. After the war many historical Buildings and works of art needed restoration.

In 1953, the Leningrad Higher Art and Industrial School (LVHPU) named after V.I. Mukhina was founded. People called it the Mukhinsky School. We must pay tribute, an amazing team was formed within its walls, which was able to restore bit by bit centuries-old traditions predecessors and at the same time bring a lot of new things into science industrial design, arts and crafts, conservation historical heritage. In 2007, the university was reorganized into the St. Petersburg Academy of Arts and Industry named after A. L. Stieglitz.

Today's day

Currently, the university has about 1,500 students and 500 employees. Applicants can receive higher education in the field of monumental and decorative art, design, art history and restoration.

The faculties of the Stieglitz Academy in St. Petersburg actively cooperate with structural organizations and industrial enterprises. For example, the Department of Industrial Design works side by side with well-known Russian companies, including car manufacturers KamAZ and AvtoVAZ, shipbuilders Almaz and Aurora, NPO LOMO, and the Svetlana factory. The fashion design department hosts numerous competitions and festivals.

SPGHPA. them. A. L. Stieglitz has long history successful international relations. Teachers and students cooperate with higher educational institutions and creative organizations in Germany, Finland, China, France, Japan and other countries.

Faculty of Monumental and Decorative Arts

Artists of all kinds are trained here. The variety of specialties is determined by the innovative directions of the 21st century, as well as traditions drawn from the past. Applicants art academy can choose one of many specializations:

• History of art and civilization.
• Artistic processing of metals.
• Graphic art, book illustration.
• Ceramics, glass.
• Painting, restoration.
• Wood painting.
• Sculpture.
• Textile design.
• Interior and equipment.
• Monumental and decorative painting and sculpture.

Faculty of Design

First of all, this is a school of artistic and design creativity, which is faced with the task of determining the optimal ways to integrate design, pedagogy, science and industrial production. Training program is built on creating a kind of launching pad for creativity. The following specialties are taught here:

• Costume design.
• Environment design.
• Graphic design.
• Furniture design.
• Industrial design.

Achievements

The famous university has trained a galaxy of talented and successful artists and designers for the manufacturing industry. Looking for aesthetic values graduates actively form new trends for architecture, design, monumental, decorative and applied arts.

Today former students work successfully on industrial enterprises, participate in projects of research institutions, as well as in construction bureaus, art schools And creative organizations. In addition, students of the Academy named after. Stieglitz made a significant contribution to the development material culture countries. For their high achievements, the team was awarded the honorary Order of the Red Banner of Labor.

Social and cultural life

The Academy has a developed material and technical base. There is a museum with more than 35,000 objects of applied art and a collection of student works. The library has more than 140,000 publications and a rare book depository for 10,000 items. Catering provided.

Excellent facilities for sports have been created, and Gym. Eat student hostel, located on Kuznetsova Avenue 30/9, St. Petersburg. By the way, during entrance exams and training courses, applicants can be accommodated in a dormitory.

Museum

At the Academy. Stieglitz is in effect wonderful museum(founded 1878). It presents both the works of teachers and students of the academy from different years, as well as other works of art.

Creation art museum The same Alexander Polovtsov contributed to the educational institution. Together with the architect Maximilian Messmacher, he convinced Baron Stieglitz of the need to have a collection of works of applied art - both as a teaching aid, and for the development of students’ artistic imagination. The Baron allocated an additional 5 million rubles for the implementation of this idea, which made it possible to buy art books for the school library, new exhibits for the museum, printed graphics, original paintings and drawings Western European artists, products of master jewelers, works of decorative artists in various industries.

Large amounts of money were spent on purchasing specialized exhibits and works of art at Parisian auctions; the best and unique lots were often purchased. Thanks to these acquisitions, the school museum became the owner of:

• Samples of ceramics from archaic times.
• Jewelry.
• Archaeological objects of the ancient Phoenicians.
• Antique furniture.
• Antique fireplaces.
• Products from ceramic centers in Italy, France, Germany.
• Collections of French tapestries.
• Original paintings by Tiepolo.
• Original drawings by artists and decorators, including Giovanni Castiglione, Franceso Guardi, Perino del Vaga, Tiepolo, Polidori da Caravaggio, Annibale Carracci, Gilles Marie Oppenor and others.

After the death of Stieglitz, Alexander Polovtsov had to bring the improvement of the new art school to its logical conclusion. He gave considerable sums to charity and the development of the material and technical base.

Academy today

Today the university has 1,500 students and 220 teachers.

Faculties

Faculty of Decorative and Applied Arts
- Faculty of Monumental Art
- Faculty of Design

Story

• Founded in 1876 by rescript of Alexander II with donations from banker and industrialist Baron Alexander Ludwigovich Stieglitz (-) as Central School of Technical Drawing.
• In 1918 the school was reorganized into Petrograd State Art and Industrial Workshops.
• In 1922 the workshops were transformed into School for architectural decoration of buildings under the city Executive Committee.
• In 1945, by government decision, the school was recreated as a multidisciplinary educational institution training artists of monumental, decorative and industrial arts, in 1948 it became a university - Leningrad Higher Art and Industrial School.
• Since 1953, LVHPU has been named after People's Artist of the USSR Vera Ignatievna Mukhina.
• In 1994, LVHPU named after. V. I. Mukhina transformed into St. Petersburg State Academy of Arts and Industry.
• In December 2006, the academy was named after Alexander Ludwigovich Stieglitz. The new name of the academy is St. Petersburg State Art and Industry Academy named after A. L. Stieglitz(SPGHPA named after A.L. Stieglitz).

Famous graduates

• Bosco, Yuri Ivanovich - Soviet monumental artist, Honored Artist of Russia, People's Artist of Russia.
• Zarins, Richard Germanovich - Russian and Latvian artist, graphic artist, popularizer of Latvian folk art, author of the first revolutionary stamps of Soviet Russia. Author of the coat of arms and banknotes of Latvia.
• Ostroumova-Lebedeva, Anna Petrovna - People's Artist of the RSFSR, Russian engraver and painter, watercolorist, master of landscape.
• Petrov-Vodkin, Kuzma Sergeevich - Honored Artist of the RSFSR, symbolist painter, graphic artist, art theorist, writer and teacher.
• Pisakhov, Stepan Grigorievich - Russian artist, writer, ethnographer, storyteller.
• Protopopov, Vladislav Vasilievich - Russian artist.
• Salnikov, Anatoly Aleksandrovich - Honored Architect of the Autonomous Republic of Crimea, Laureate of the Award of the Autonomous Republic of Crimea, chief architect of the city of Kerch.

Links

• http://designcomdesign.ru/ - Department of Communication Design, St. Petersburg State University of Arts and Sciences named after. A.L. Stieglitz.
• http://artisk.ru/ - Department of Art History and Cultural Studies of the St. Petersburg State University of Art and Culture named after. A.L. Stieglitz.

Sources

Wikimedia Foundation.

See what "Leningrad Higher Art and Industrial School named after V. I. Mukhina" is in other dictionaries:

St. Petersburg State Artistic and Industrial Academy named after. A. L. Stieglitz (SPGHPA named after A. L. Stieglitz) Founded 1876 ... Wikipedia

Them. V. I. Mukhina, created in 1945 (its history dates back to the technical drawing school of A. L. Stieglitz, founded in 1876 in St. Petersburg). Since 1948 higher school. In 1953 the school was named after V.I. Mukhina. As part of the school (1973): ... ...

Leningradskoe named after V.I. Mukhina (LVHPU) (Solyanoy lane, 13), created in 1945. Its history dates back to the Central School of Technical Drawing of A.L. Stieglitz, founded in St. Petersburg in 1876. Since 1948, the higher school. In 1953 I went to school... ... - (TSUTR) (Solyanoy Lane, 13 and 15), state art educational institution. Founded in 1876 (opened in 1879) together with an elementary school of drawing, drafting and modeling on the initiative and at the expense of the philanthropist Baron A. L. Stieglitz (the first ... ...

Higher Art and Industrial School- Leningrad named after V.I. Mukhina (LVHPU) (Solyanoy Lane, 13), created in 1945. Its history dates back to the Central School of Technical Drawing of A.L. Stieglitz, founded in St. Petersburg in 1876. Since 1948, the higher school. In 1953 the school was awarded... ... Encyclopedic reference book "St. Petersburg"

St. Petersburg State Academy of Arts and Industry (formerly V.I. Mukhina Leningrad Art and Industry Academy) ... Wikipedia

Coordinates... Wikipedia

The Central School of Technical Drawing of Baron Stieglitz (TSUTR), founded in St. Petersburg in 1876 with funds from the philanthropist A. L. Stieglitz, opened in 1879 together with Primary school drawing, drawing and modeling, in 1922 joined the Petrograd... ... Great Soviet Encyclopedia

- (named after the philanthropist Baron A.L. Stieglitz), founded in St. Petersburg in 1876, opened in 1879, in 1922 merged with the Petrograd Vkhutein. In 1945 it was recreated as the Leningrad (now St. Petersburg) Higher Artistic and Industrial... ... encyclopedic Dictionary

- (named after the philanthropist Baron A.L. Stieglitz) founded in St. Petersburg in 1876, opened in 1879, in 1922 joined the Petrograd Higher Art and Technical Institute. In 1945 it was recreated as the Leningrad (now St. Petersburg) Higher... ... Big Encyclopedic Dictionary eBook

Coordinates: 59°56′37″ n. w. /  30°20′27″ E. d.59.94361° s. w. 30.34083° E. d. / 59.94361; 30.34083(G) (I)

K: Educational institutions founded in 1876 Federal State state-financed organization higher education"St. Petersburg State Academy of Arts and Industry named after A.L. Stieglitz"

(Stiglitz Academy) is one of the most authoritative Russian universities, training specialists in the field of fine art and design. Founded in 1876 with funds donated by Baron Alexander Stieglitz.

Story

The main building of the academy is located in a building designed by the first director of this educational institution - architect M. E. Messmacher.

• Technical Drawing School
• In 1876, by decree of Alexander II, the Central School of Technical Drawing was founded with funds donated by the banker and industrialist Baron Alexander Ludvigovich Stieglitz (-).
• The school existed on interest from the capital bequeathed by A. L. Stieglitz in 1884 (about 7 million rubles) and trained artists of decorative and applied arts for industry, as well as drawing and drawing teachers for secondary art and industrial schools.
• January - S. P. Diaghilev organizes an Exhibition of Russian and Finnish artists, in which Finnish artists V. Blomsted, A. Gallen-Kallela and others participate along with A. N. Benois and M. A. Vrubel.
• The school began to be called Central after the creation of branches in Narva, Saratov, and Yaroslavl in the 1890s. The first director from 1896 was the architect M. E. Messmacher. In 1892, 200 people studied at TSUTR; there were departments: general art, decorative painting
• and carving, majolica, embossing, woodcuts, porcelain painting, weaving and printing. IN different years

CUTR teachers were: A. D. Kivshenko, M. K. Klodt, A. T. Matveev, V. V. Mate, A. I. von Gauguin, N. A. Koshelev, A. A. Rylov.

TSUTR in the artistic culture of Latvia From the first years of creation Central School of Technical Drawing

About 130 ethnic Latvian students were educated at CUTR. Some of them subsequently became teachers of this school, among them: Gustav Shkilter - a specialist in decorative finishing of buildings (1905-1918), Karl Brenzen - taught artistic treatment glass and stained glass (1907-1920), Yakov Belzen - teacher of drawing and painting (1905-1917), Julius Jaunkalnins - porcelain painting (1896-1918).

Masters of art, educated in Central School of Technical Drawing, subsequently laid the foundation for the artistic culture of Latvia and became the creators art education Latvian Soviet Socialist Republic:

State art and industrial workshops

LVHPU named after V.I. Mukhina

• In 1945, by government decision, the school was recreated as a multidisciplinary secondary specialized educational institution that trained artists of monumental, decorative and applied, industrial and restoration art.
• In 1948, it became a higher educational institution - the Higher School of Art and Industry, which retained a unit where they trained specialists with secondary special education(the so-called “masters department”).
• In 1953, by government decree, the Leningrad Higher Art and Industrial School was named People's Artist USSR, full member of the USSR Academy of Arts, sculptor Vera Ignatievna Mukhina, who made a great contribution to the creation of monumental and decorative arts of the USSR.

Academy of Arts and Industry

The university has 1,500 students and 220 teachers.

At half past five Napoleon rode on horseback to the village of Shevardin.
It was beginning to get light, the sky cleared, only one cloud lay in the east. Abandoned fires burned out in the weak morning light.
A thick, lonely cannon shot rang out to the right, rushed past and froze in the midst of general silence. Several minutes passed. A second, third shot rang out, the air began to vibrate; the fourth and fifth sounded close and solemnly somewhere to the right.
The first shots had not yet sounded when others were heard, again and again, merging and interrupting one another.
Napoleon rode up with his retinue to the Shevardinsky redoubt and dismounted from his horse. The game has begun.

Returning from Prince Andrei to Gorki, Pierre, having ordered the horseman to prepare the horses and wake him up early in the morning, immediately fell asleep behind the partition, in the corner that Boris had given him.
When Pierre fully woke up the next morning, there was no one in the hut. Glass rattled in the small windows. The bereitor stood pushing him aside.
“Your Excellency, your Excellency, your Excellency...” the bereitor said stubbornly, without looking at Pierre and, apparently, having lost hope of waking him up, swinging him by the shoulder.
- What? Began? Is it time? - Pierre spoke, waking up.
“If you please hear the firing,” said the bereitor, a retired soldier, “all the gentlemen have already left, the most illustrious ones themselves have passed a long time ago.”
Pierre quickly got dressed and ran out onto the porch. It was clear, fresh, dewy and cheerful outside. The sun, having just broken out from behind the cloud that was obscuring it, splashed half-broken rays through the roofs of the opposite street, onto the dew-covered dust of the road, onto the walls of the houses, onto the windows of the fence and onto Pierre’s horses standing at the hut. The roar of the guns could be heard more clearly in the yard. An adjutant with a Cossack trotted down the street.
- It's time, Count, it's time! - shouted the adjutant.
Having ordered his horse to be led, Pierre walked down the street to the mound from which he had looked at the battlefield yesterday. On this mound there was a crowd of military men, and the French conversation of the staff could be heard, and the gray head of Kutuzov could be seen with his white cap with a red band and the gray back of his head, sunk into his shoulders. Kutuzov looked through the pipe ahead along the main road.
Entering the entrance steps to the mound, Pierre looked ahead of him and froze in admiration at the beauty of the spectacle. It was the same panorama that he had admired yesterday from this mound; but now this whole area was covered with troops and the smoke of shots, and slanting rays bright sun, rising from behind, to the left of Pierre, threw at her in the clear morning air a piercing light with a golden and pink tint and dark, long shadows. The distant forests that completed the panorama, as if carved from some precious yellow-green stone, were visible with their curved line of peaks on the horizon, and between them, behind Valuev, cut through the great Smolensk road, all covered with troops. Golden fields and copses glittered closer. Troops were visible everywhere - in front, right and left. It was all lively, majestic and unexpected; but what struck Pierre most of all was the view of the battlefield itself, Borodino and the ravine above Kolocheya on both sides of it.
Above Kolocha, in Borodino and on both sides of it, especially to the left, where in the marshy banks Voina flows into Kolocha, there was that fog that melts, blurs and shines through when the bright sun comes out and magically colors and outlines everything visible through it. This fog was joined by the smoke of shots, and through this fog and smoke the lightning of the morning light flashed everywhere - now on the water, now on the dew, now on the bayonets of the troops crowded along the banks and in Borodino. Through this fog one could see a white church, here and there the roofs of Borodin's huts, here and there solid masses of soldiers, here and there green boxes and cannons. And it all moved, or seemed to move, because fog and smoke stretched throughout this entire space. Both in this area of ​​the lowlands near Borodino, covered with fog, and outside it, above and especially to the left along the entire line, through forests, across fields, in the lowlands, on the tops of elevations, cannons, sometimes solitary, constantly appeared by themselves, out of nothing, sometimes in droves, sometimes sparse, sometimes frequent clubs smoke, which, swelling, growing, swirling, merging, could be seen throughout this space.
These smokes of shots and, strange to say, their sounds produced the main beauty of the spectacle.
Puff! - suddenly a round, dense smoke was visible, playing with purple, gray and milky white colors, and boom! – the sound of this smoke was heard a second later.
“Poof poof” - two smokes rose, pushing and merging; and “boom boom” - the sounds confirmed what the eye saw.
Pierre looked back at the first smoke, which he left as a round dense ball, and already in its place there were balls of smoke stretching to the side, and poof... (with a stop) poof poof - three more, four more were born, and for each, with the same arrangements, boom... boom boom boom - beautiful, firm, true sounds answered. It seemed that these smokes were running, that they were standing, and forests, fields and shiny bayonets were running past them. On the left side, across the fields and bushes, these large smokes were constantly appearing with their solemn echoes, and closer still, in the valleys and forests, small gun smokes flared up, not having time to round off, and in the same way gave their little echoes. Tah ta ta tah - the guns crackled, although often, but incorrectly and poorly in comparison with gun shots.
Pierre wanted to be where these smokes were, these shiny bayonets and cannons, this movement, these sounds. He looked back at Kutuzov and his retinue to compare his impressions with others. Everyone was exactly like him, and, as it seemed to him, they were looking forward to the battlefield with the same feeling. All faces now shone with that hidden warmth (chaleur latente) of feeling that Pierre had noticed yesterday and which he understood completely after his conversation with Prince Andrei.
“Go, my dear, go, Christ is with you,” said Kutuzov, without taking his eyes off the battlefield, to the general standing next to him.
Having heard the order, this general walked past Pierre, towards the exit from the mound.
- To the crossing! – the general said coldly and sternly in response to one of the staff asking where he was going. “And I, and I,” thought Pierre and followed the general in the direction.
The general mounted the horse that the Cossack handed to him. Pierre approached his rider, who was holding the horses. Having asked which was quieter, Pierre climbed onto the horse, grabbed the mane, pressed the heels of his outstretched legs to the horse’s belly and, feeling that his glasses were falling off and that he was unable to take his hands off the mane and reins, galloped after the general, exciting the smiles of the staff, from the mound looking at him.

The general, whom Pierre was galloping after, went down the mountain, turned sharply to the left, and Pierre, having lost sight of him, galloped into the ranks of the infantry soldiers walking ahead of him. He tried to get out of them, now to the right, now to the left; but everywhere there were soldiers, with equally preoccupied faces, busy with some invisible, but obviously important matter. Everyone looked at this fat man in a white hat with the same dissatisfied, questioning look, who for some unknown reason was trampling them with his horse.
- Why is he driving in the middle of the battalion! – one shouted at him. Another pushed his horse with the butt, and Pierre, clinging to the bow and barely holding the darting horse, jumped out in front of the soldier, where there was more space.
There was a bridge ahead of him, and other soldiers stood at the bridge, shooting. Pierre drove up to them. Without knowing it, Pierre drove to the bridge over Kolocha, which was between Gorki and Borodino and which the French attacked in the first action of the battle (having occupied Borodino). Pierre saw that there was a bridge in front of him and that on both sides of the bridge and in the meadow, in those rows of lying hay that he had noticed yesterday, soldiers were doing something in the smoke; but, despite the incessant shooting that took place in this place, he did not think that this was the battlefield. He did not hear the sounds of bullets screaming from all sides, or shells flying over him, he did not see the enemy who was on the other side of the river, and for a long time he did not see the dead and wounded, although many fell not far from him. With a smile never leaving his face, he looked around him.
- Why is this guy driving in front of the line? – someone shouted at him again.
“Take it left, take it right,” they shouted to him. Pierre turned to the right and unexpectedly moved in with the adjutant of General Raevsky, whom he knew. This adjutant looked angrily at Pierre, obviously intending to shout at him too, but, recognizing him, nodded his head to him.
- How are you here? – he said and galloped on.
Pierre, feeling out of place and idle, afraid to interfere with someone again, galloped after the adjutant.
- This is here, what? Can I come with you? - he asked.
“Now, now,” answered the adjutant and, galloping up to the fat colonel standing in the meadow, he handed him something and then turned to Pierre.
– Why did you come here, Count? - he told him with a smile. -Are you all curious?
“Yes, yes,” said Pierre. But the adjutant, turning his horse, rode on.
“Thank God here,” said the adjutant, “but on Bagration’s left flank there is a terrible heat going on.”
- Really? asked Pierre. - Where is this?
- Yes, come with me to the mound, we can see from us. “But our battery is still bearable,” said the adjutant. - Well, are you going?
“Yes, I’m with you,” said Pierre, looking around him and looking for his guard with his eyes. Here, only for the first time, Pierre saw the wounded, wandering on foot and carried on stretchers. In the same meadow with fragrant rows of hay through which he drove yesterday, across the rows, his head awkwardly turned, one soldier lay motionless with a fallen shako. - Why wasn’t this raised? - Pierre began; but when I saw stern face adjutant, who looked in the same direction, he fell silent.
Pierre did not find his guard and, together with his adjutant, drove down the ravine to the Raevsky mound. Pierre's horse lagged behind the adjutant and shook him evenly.
“Apparently you’re not used to riding a horse, Count?” – asked the adjutant.
“No, nothing, but she’s jumping around a lot,” Pierre said in bewilderment.
“Eh!.. yes, she’s wounded,” said the adjutant, “right front, above the knee.” It must be a bullet. Congratulations, Count,” he said, “le bapteme de feu [baptism by fire].
Having driven through the smoke through the sixth corps, behind the artillery, which, pushed forward, was firing, deafening with its shots, they arrived at a small forest. The forest was cool, quiet and smelled of autumn. Pierre and the adjutant dismounted from their horses and entered the mountain on foot.
- Is the general here? – asked the adjutant, approaching the mound.
“We were there now, let’s go here,” they answered him, pointing to the right.
The adjutant looked back at Pierre, as if not knowing what to do with him now.
“Don’t worry,” said Pierre. – I’ll go to the mound, okay?
- Yes, go, you can see everything from there and it’s not so dangerous. And I'll pick you up.
Pierre went to the battery, and the adjutant went further. They did not see each other again, and much later Pierre learned that this adjutant’s arm was torn off that day.
The mound that Pierre entered was the famous one (later known among the Russians under the name of the kurgan battery, or Raevsky’s battery, and among the French under the name la grande redoute, la fatale redoute, la redoute du center [the great redoubt, the fatal redoubt, the central redoubt ] a place around which tens of thousands of people were positioned and which the French considered the most important point of the position.
This redoubt consisted of a mound on which ditches were dug on three sides. In a place dug in by ditches there were ten firing cannons, stuck out into the opening of the shafts.
There were cannons lined up with the mound on both sides, also firing incessantly. A little behind the guns stood the infantry troops. Entering this mound, Pierre did not think that this place, dug in with small ditches, on which several cannons stood and fired, was the most important place in battle.
To Pierre, on the contrary, it seemed that this place (precisely because he was on it) was one of the most insignificant places of the battle.
Entering the mound, Pierre sat down at the end of the ditch surrounding the battery, and with an unconsciously joyful smile looked at what was happening around him. From time to time, Pierre still stood up with the same smile and, trying not to disturb the soldiers who were loading and rolling guns, constantly running past him with bags and charges, walked around the battery. The guns from this battery fired continuously one after another, deafening with their sounds and covering the entire area with gunpowder smoke.

St. Petersburg State Academy of Arts and Industry named after A. L. Stieglitz- higher art educational institution located in St. Petersburg.

The main building of the academy is located in a building designed by the first director of this educational institution, architect M. E. Messmacher.

From 1953 to 1994 the institute was called Leningrad Higher Art and Industrial School named after V. I. Mukhina, which is why in the media it is often called “ Mukhinsky School", or simply " Fly».

Story

In 1873, the “Regulations on drawing schools and classes in the provinces” were approved. Many craft schools carried out production orders based on projects famous artists, mainly in the "Russian style".

In 1876, wanting to promote the training of specialists for the art industry in Russia, financier and textile manufacturer Alexander Ludvigovich Stieglitz (1814-1884) donated one million rubles to the creation of the Technical Drawing School in St. Petersburg. In 1878-1881. A special building was erected in Salt Town, designed by architects R. A. Gedicke and A. I. Krakau. On the second floor of the Central School of Technical Drawing of Baron Stieglitz, inaugurated on December 29, 1881, there were a small educational museum and a library. Stieglitz was convinced to create a museum at the School by the outstanding philanthropist Alexander Alexandrovich Polovtsov (1832-1909). Member State Council, Secretary of State, initiator of the creation of the "Russian" in Russia historical society"(1866), publisher of the famous "Russian biographical dictionary", Polovtsov, married to adopted daughter Baron Stieglitz, 1891-1909 was the chairman of the School Council, purchased works of art with his own funds, rare books, engravings. Works of art were donated to the museum by Prince S. S. Gagarin, collector M. P. Botkin, princes N. S. Trubetskoy, A. B. Lobanov-Rostovsky, Count A. V. Bobrinsky and many others. In 1879-1880 Heinrich Schliemann, closely associated with commercial activities with Russia, donated to the museum a collection of antique gold and ceramic items that he discovered during excavations of the Hissarlik hill in Asia Minor.

In 1885-1896 The new museum building was erected according to his own design by Maximilian Egorovich Messmacher (1842-1906). Previously, from 1874, Messmacher taught at the Drawing School of the Society for the Encouragement of the Arts. An architect, draftsman, watercolorist, Messmacher, according to the worldview of the Historicist period, paid special attention to the study of the “history of styles,” which he taught at the Stieglitz School along with decorative painting and watercolor. Since 1879 he was the director of the School. Taking as a basis the Venetian architecture of J. Sansovino and the Basilica in Vicenza by A. Palladio (see vol. 2, fig. 598), Messmacher created a huge showroom with overhead lighting, the rest of the halls were decorated in " historical styles": Hall of the Medici, Hall of Henry II, Hall of Henry IV, Flemish Hall, Hall of Louis XIII, Hall of Louis XIV, Hall of Tiepolo... For each hall, appropriate objects were selected for study by students. The principle of exhibition "by style" and architectural stylization of interiors were known in Europe at that time and were the visible embodiment of the ideology of Historicism, Messmacher, with his characteristic pedantry and attention to detail, brought this principle to the absolute.

In 1885-1886 Polovtsov traveled abroad to purchase new objects of art. As a result of this activity, the School Museum has a unique collection of tapestries, Italian majolica, Limoges enamels, Sevres, Chinese and Japanese porcelain, electroplated copies of precious metal products, and ornamental engravings. By the end of 1913, the collection consisted of about 21 thousand exhibits. In the halls of the museum, classes were held on the history of styles and ornaments; students copied exhibits in pen drawings, watercolor techniques, and ink washes.

The training program was based on the experience of the Stroganov School in Moscow and art and industrial schools in France, England, and Germany. The main subject was drawing, which was divided into “general” and “special”. After two classes of general art training, students moved on to special ones: a class of pen drawing and ink washing, “photography of artistic and industrial objects” (meaning graphic copying), “a class of drawing from fresh flowers.” General course The drawing also ended with special sections: drawing “multi-color ornaments with relief”, “composition of ornaments”, engraving and lithography.

The education system at the Stieglitz School was not progressive, moreover, in comparison with advanced schools Western Europe, pedagogical system G. Semper and H. Cole and even the Drawing School of the Society for the Encouragement of the Arts, it was a “yesterday”, a conservative educational institution “in the German way” (Germans predominated among the teachers, immigrants from the Baltic states and Finland dominated among the students). Nevertheless, the activities of the School, and above all M.E. Messmacher, were of great importance for the development of the “art industry” in Russia.

Technical Drawing School

School in the artistic culture of Latvia

From the first years of creation From the first years of creation, this educational institution has become very popular among young people in Latvia who want to get a degree.

and carving, majolica, embossing, woodcuts, porcelain painting, weaving and printing. TSUTR About 130 ethnic Latvian students were educated. Some of them subsequently became teachers of this school, among them: Gustav Shkilter - a specialist in the decorative finishing of buildings (1905-1918), Karl Brenzen - taught artistic glass processing and stained glass (1907-1920), Jacob Belzen - teacher of drawing and painting (1905 -1917), Julius Jaunkalnins - in porcelain painting (1896-1918).

Masters of art, educated at the Central School of Technical Drawing, subsequently laid the foundation of the artistic culture of Latvia and became the creators of art education in the Latvian Soviet Socialist Republic:

State art and industrial workshops

LVHPU named after V.I. Mukhina

Academy of Arts and Industry

At LVHPU named after. V.I. Mukhina was transformed into the St. Petersburg State Academy of Arts and Industry.

The university has 1,500 students and 220 teachers.