Русское искусство. II. Неучтенные детали

96тивов играет существенную роль не только при определении авторского по-черка, но и в смысловом прочтении натюрмортных постановок, соединяющих традиции жанра с современными культурно-историческими реалиями. Ключевые слова: русская живопись XVIII – первой половины XIX века, Императорская академия художеств, натюрморт, жанр «цветов и плодов», И. Ф. Хруцкий, Ф. Г. Торопов, Г. Г. Преннер, Ф. Я. Барзенков. Abstract. The typological narrowness of the still life genre, which flourished in the first half of the 19th century, is largely due to its academic origin. The priority of the “flowers and fruits” genre in the academic painting determined the thematic and stylistic uniformity of the settings created by the graduates of the Academy of Arts during the 1830s–1860s. In this situation, attribution of authorship of works, most of which are traditionally associated with the name of the most famous repre-sentative of the genre I.F. Khrutsky, is of particular difficulty. The article discusses objective and floral motifs included in still lifes, as well as the features of their pictorial interpretation. Generally typical for their time, they allow us to divert from Khrutsky a whole series of works created by his little-known colleagues at the Acad-emy of Arts. In this case, the motive for attribution may be found in minor details, that later can be viewed as characteristic features of the creative style of a particular painter. The author concludes that the analysis of individual subject motives plays a significant role not only in identifying author’s style, but also in the semantic reading of still-life settings that connect the traditions of the genre with modern cultural and historical realities.Keywords: Russian painting of the 18th – first half of the 19th century, Aca-demy of Arts, still life, genre of “flowers and fruits”, I. F. Khrutskty, F. G. Toropov, K. D. Prenner, F. Ya. Barzenkov.В русской живописи первой половины XIX столетия жанр натюр-...