title: Constantin Somov as a Subject of Omission in the History of Russian Art
metadata.name: dc.contributor.author
metadata.value: Golubev, P. S.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2018-04-04T15:45:24Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2018-04-04T15:45:24Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2018-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Golubev P. S. ‘Constantin Somov as a Subject of Omission in the History of Russian Art’, Modern History of Russia, vol. 8, no. 1, 2018, pp. 165–177.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: 10.21638/11701/spbu24.2018.111
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/9305
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: Konstantin Andreevich Somov (1869–1939) was one of the founders of the St. Petersburg art association
  “The World of Art”. He belongs to the most significant representatives of Russian art of the late 19th and early
  20th centuries. Even in Soviet times, his art was not completely banned for scientific examination. However, at
  the present time, Somov’s life and art remain little studied, with all the interest to them from both the researchers
  and the public. The range of problems discussed in connection with Somov is expanding very slowly. Usually it
  is assumed that the reason for this is the inertia that has been preserved in Russian art history since Soviet times
  (the artist left Soviet Russia in 1923 and did not return). However, even now there are issues among researchers
  that are “not accepted” to touch. These issues are not related to politics, they are avoided to be called. It is about
  Somov’s homosexuality, which he, at times implicitly, but invariably distinctly, reflected in his works. Without comprehension
  of this problem, an integral interpretation of Somov’s art is impossible. The article shows how Somov
  turned into a subject of omission. It also determines its place in Soviet and post-Soviet historiography and exhibition
  practice. Some mechanisms of censorship and self-censorship within the scientific community are identified
  and described on the basis of private correspondence between Soviet art historians and artists. The article is written
  with the involvement of a large number of unpublished sources, including Somov’s testimony about himself; a
  text of well-known publications is reviewed by comparing them with original manuscripts.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Modern History of Russia;Volume 8; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: C. Somov
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: World of Art
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Russian Art
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Late 19th early 20th centuries
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: gender
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Constantin Somov as a Subject of Omission in the History of Russian Art
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 11-Golubev.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/9305/1/11-Golubev.pdf
resources.format: Adobe PDF
resources.size: 3,88 MB