Abstract: The study and attribution of works of fine art remains one of the most important activities of modern art museums. This task is particularly relevant for regional museums, whose collections were formed in the 20th century due to transfers from the State Museum Fund and the capital's state collections. Attribution of works not only allows establishing authorship, but also provides an opportunity to reach the level of deeper generalizations, fills in existing gaps in the history of art, and finally leads to an understanding of the general laws of artistic development. The article highlights some of the research experience of recent years of Italian paintings of the XVI–XVIII centuries from the collection of the Omsk Regional Museum of Fine Arts named after M. A. Vrubel. Attribution was carried out on the basis of an integrated approach involving the use of comparative stylistic analysis, technical and technological research, as well as work with archival documents. The works of Soviet art historians B. R. Vipper, V. N. Lazarev, as well as publications by leading Russian specialists I. V. Linnik, V. E. Markova, I. S. Artemyeva, and others were of methodological importance. The study showed that the focus of the study of Italian painting is not only on the issue of establishing authorship, but also on the problem of identification itself – establishing affiliation to a national school, identifying original works, identifying copies and imitations. In the course of the research, previously accepted attributions were revised, and individual works that were considered nameless acquired the author's name. The introduction into scientific circulation of previously unknown works by Italian masters of the XVI–XVIII centuries from the collection of one of the largest regional museums, as well as the identification of new paintings by artists significant for the history of Western European art, enriches the picture of Italian painting, which determines the novelty of the study. In addition, the obtained data from technical and technological research can serve as comparative material in the study and proof of attribution of works of Western European painting.

Keywords: artist, collection, technical and technological research, stylistic analysis, national school, Italian painting, attribution, museum, copy, State Museum Fund

Abstract: The object of the study is Alexander Sergeevich Terekhin, a researcher of the architecture of the Kama region. The subject is his activities in the field of protection of historical and cultural monuments in the 1960-1970s. The purpose of the article is to characterize the role and contribution of the researcher in the process of identifying monuments of the industrial heritage of the Perm region in the specified chronological period. The relevance of the stated topic is that at present it is very important to consolidate all available forces in order to preserve the remaining monuments of the domestic industrial heritage. There are no studies on this topic, which determines the scientific novelty of the study. As part of the preparation of the article, archival materials were used from the Perm State Archive of Socio-Political History and the State Archive of the Perm Territory. In the latter, the personal fund of A. S. Terekhin is most important. The research methodology is presented by general scientific methods, as well as special historical ones: chronological, historical-genetic and historical-comparative methods. The author came to the conclusion that the activities of A. S. Terekhin in identifying monuments of industrial heritage were very effective. In the 1960s - early 1970s. with his active participation, a field survey and study of a number of monuments of industrial wooden architecture, as well as factories and dams in the Perm region, was carried out. As a result of the activities of A. S. Terekhin, a number of industrial heritage objects were put on state registration as monuments of local significance. And some of the objects have undergone museumification within the framework of the Architectural and Ethnographic Museum “Khokhlovka” and the “Museum of Salt of Russia”.

Keywords: Khokhlovka, ethnographic museum, industrial architecture, wooden architecture, identification, Perm region, A. S. Terekhin, monument, industrial heritage, factories