“Leningrad style” in works of author's and mass-produced jewelry art: On the issue of defining the species boundaries of Soviet jewelry art
DOI:
https://doi.org/10.33910/2687-1262-2025-7-2-191-204Keywords:
jewelry art, Leningrad style, Leningrad Higher Art and Industrial University named after V. I. Mukhina, Yu. Paas-Alexandrova, V. Povolotskaya, R. KharitonovAbstract
Leningrad jewelry art occupies a special place in the history of domestic decorative and applied art of the 20th century. The relevance of the study is due to the growing interest in the history of Soviet art, in particular, its regional features, as well as the methods of its analysis and systematization. The purpose of the article is to preserve this phenomenon from the point of view of the artistic and plastic language and its species boundaries. The author analyzes the main characteristics of this trend, including the use of non-traditional techniques and materials for jewelry art, as well as the influence of cultural and historical contexts on the creative process. The object of the study is the works of jewelry art created by Leningrad artists in the period from the 1930s to the 1980s. The subject of the study is these artistic and stylistic features that define the "Leningrad style". Particular attention is paid to the works of leading masters who became symbols of the Leningrad style, and their contribution to the development of jewelry art. The article presents works created by Leningrad artists for jewelry art: Elena Danko, Nikolay Suetin, Nina Vogt, Juta Paas-Alexandrova, Vera Povolotskaya and Remir Kharitonov. Separate research areas highlight the main stages of jewelry art development: from the monolithic pre-revolutionary system of factories, creators of works for the royal court and aristocracy, to the division into three areas (mass jewelry art in industry, preparation of exhibition samples at the enterprise and author's creativity using composite materials) in the late Soviet period.
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