Abstract: The northern creative trips of the People's Artist of the USSR Vladimir Alexandrovich Igoshev (1921-2007) represent important and vivid pages in his creative biography. The object of this research is the creative heritage of the artist V.A. Igoshev. The subject of the study is the creative trips of the artist V.A. Igoshev to the North (Sverdlovsk and Tyumen regions) of the 1950s and 1960s. The purpose of this study is to reconstruct the overall picture of the northern creative trips of the artist V.A. Igoshev of the 1950s–1960s on the basis of paintings and graphic works of the early "northern cycle", archival materials, exhibition catalogues, Soviet periodicals, individual scientific articles and information from informants. The novelty of the research lies in the most complete and detailed consideration at the moment of the issue of the northern creative trips of the artist V.A. Igoshev in the 1950s and 1960s. Previously, this topic has not received special coverage. Modern researchers of the creative heritage of the artist V.A. Igoshev in their review articles practically did not touch on this problem, limiting themselves to mentioning individual episodes from the creative biography of the master. The author of the study provides historical facts related to specific dates of trips, introduces a list of paintings and graphic works, with all the circumstances of their creation and further exposure at major art exhibitions of the 1950s and 1960s.

Abstract: The article is devoted to the theme of childhood – one of the main creative lines in the artistic heritage of Vladimir Alexandrovich Igoshev. The artistic development of the distant and previously little-known periphery began with the first graphic works and individual sketches in March 1954, dedicated to the little inhabitants of the harsh earth, and ended with heartfelt masterpieces created in the last years of the master's life, when all the strength was taken away by illness. Based on the art criticism analysis of V.A. Igoshev's works of art from the funds of the state museums of Ugra, the figurative and stylistic originality of the children's theme in the context of the "northern cycle" is revealed, the general evolution of portrait creativity is indicated. It is proved that as artistic tasks changed, as a result of deep creative immersion in the original and organic world of the North, the figurative interpretation of the children's theme, which acquires an aesthetically autonomous meaning, also changed.

Abstract: The subject of this research is the printmaking of C. Roth from the academic edition of J. G. Georgi Georgi “Description of everyone living in Russian state…”. The works of the Nuremberg printmaker Christopher Roth, although being an important source, were not given due attention for a long time, being viewed only in the context of studying the academic work of J. G. Georgi. The this article aims to conduct a comprehensive analysis of the historical-ethnographic and visual sources of C. Roth’s printmaking on the example of the images of the Ob Ugrians (“Ostyak on the Ob River”,  “Ostyak on Ermine Trapping”,  “The Face of Ostyachka”, and “The Back of “Ostyachka”). Based on the developed visual motifs – costumes, characteristic “postures”, attributes, etc., it is possible to reconstruct the list of sources used by C. Roth in his art pieces. The conclusion is made that as the historical-ethnographic and visual sources, C. Roth used drawings (including “plein-air” and expeditionary), " mannequins, and examples of Ostyak traditional dresses from the Siberian collection of the Kunstkamera. However, in creation of such compositions as “ Ostyak in Ermine Trapping”, “The Face of Ostyachka”, and “The Back of “Ostyachka”, the list of the aforementioned sources can be complemented by ethnographic descriptions from the academic editions of the second half of the XVIII century, miniatures from chronicles (“Brief Siberian (Kungur) Chronicle”), as well as ethnographic maps (“Ethnographic Map of Siberia of the Great Northern Expedition”).

Abstract: The subject of this research is representation of the images of Ob Ugrians in ethnographic illustrated publications of the late XVIII – early XIX centuries. The author examines the works of H. Rotht, J. B. Le Prince, H. G. Geissler as the visual and historical-ethnographic sources. The article touches upon the general historical, artistic and intellectual contexts of the second half of the XVIII – early XIX centuries, reflecting the dominant representations of the contemporaries on life and culture of Ob Ugrians. The approach proposed by Y. Slezkin that allows viewing the Ob Ugrians “with the eyes of Russians” is favored by the author. In analyzing the visual form of works, the author leant on the iconological method. The novelty of this research is defined by the relevance of studying visual representation of Ob Ugrians in the illustrated publications of the late XVIII – early XIX centuries based on the example of gravures by Roth, Le Prince, and Geissler. This topic is yet insufficiently studied from the perspective of existence of the corresponding historical-ethnographic research, as well as analysis of the artistic for of the works. The task for reconstruction of representations of the artists themselves on life and culture of Ob Ugrians is also relevant. These views were formed within the framework of particular theoretical models, concepts, historical-ethnographic ideas of that time, and were a reflection of the dominant aesthetic canons and artistic conventions, which ultimately outlined the general “portrait” of Ob Ugrians.

Abstract: The subject of this research is the works of the unique Khanty artist Mitrofan Alekseevich Tebetev (1924-2011), viewed from the perspective of its sociocultural origins. The artistic path of the artist took place at the intersection of two intertwined cultures: patriarchal culture of the Ob Ugrians and the culture of Soviet official circles. M. A. Tebetev quite organically infused both cultures. It may seem that his visual art is characterized by propensity for the naive style. However, such assessment in many ways devaluates analysis of the content of artist's paintings. Therefore, certain alienation from the excessive narrow-focus art discourse can propel the analysis of his works to a different, general cultural level. The crucial role in this research is played by the works of such theoreticians as P. Tillich, Dvořák, A. Hauser, and V. N. Prokofiev, which outlined the theoretical and methodological framework for this article. The sources for this research became the works of M. A. Tebetev, exhibition catalogues, and reproductions of his paintings, as well as writings dedicated to his works. The main conclusion consists in the thesis that the works Of M. A. Tebetev feature the attributes of visual historical-ethnographic sources. The evolution of Russian painting from photographic accuracy towards latent iconographic simplicity and open archetypical paganism reflects profound changes in the worldview of the late XX – early XXI centuries.