•convergence between needs of employers and result of performance of educational institutions;

•Development of programmes of manpower training in professions which are the most popular ones in the economy of Karelia because working professions are in high demand in Karelia;

•Broad disseminating information about the most popular professions in the regional economy.

As a whole, employment problems refer to interests of all subjects of the labour market. So one should solve them jointly and by common efforts.

Список литературы

1.Об основных направлениях, результатах деятельности Министерства образования Республики Карелия в 2013 г. и задачах на 2014 г. Петрозаводск, 2014. 36 с.

2.Результаты реализации в 2013 г. региональной целевой программы «Развитие кадрового потенциала Республики Карелия» на период 2008-2013 гг. Петрозаводск, 2013. 76 с.

3.Министерство труда и занятости Республики Карелия. 2009: URL: http://mintrud.karelia.ru/

ИСТОРИЧЕСКИЙ ФАКУЛЬТЕТ

СЕКЦИЯ «HISTORICAL ISSUES (ВОПРОСЫ ИСТОРИИ)»

EUROPEAN IMMIGRANT AND AMERICAN MAGAZINES OF THE 1920S AND 1930S DESIGNED BY RUSSIAN IMMIGRANT

ARTISTS

Н. Д. Скрипникова, студ. 3 курса

Научные руководители – к. и. н., доц. А. Ф. Юсупов, ст. преподаватель А. В. Ананьина

I have been studying the creative works of Russian immigrant artists from the period of the 1920s and 1930s for the past two years. During my research, I came across some magazines of this period, illustrated by the exiled artists from the former Russian Empire. It should be noted that in the 1920–1930s, many publishers focused on the decorative design of their periodic publications. Decorative design of magazines was used, firstly, to identify the quality of a published product; and, secondly, the publishers realized that use of decorative design in magazines could attract more consumers, because it made

88

magazines more individual and recognizable. That is why at the beginning of the 20th century, decorative design of periodic publications demanded the professional artistic work. Looking at the covers of the magazines, created by Russian artists in exile, I noticed some obvious differences between them. Some covers depict original Russian objects (Orthodox churches, Russian girls in traditional costumes, Russian patterns, heroes of Russian fairy tales), while others represent skyscrapers, sophisticated, elegantly dressed ladies and gentlemen, or characters of typically western fairy tales. This observation raises a question: "What caused such a significant difference in the design of magazines?" In order to answer this question it is necessary to identify and analyze the factors that influenced the difference in the decorative design of foreign magazines during the 1920s and 1930s, created by the Russian immigrant artists.

The study is based on the website archive of the immigrant press http://www.librarium.fr/ru [4], as well as on the archive of the publishing house Condé Nast http://www.condenaststore.com/ [1] and the album The Art of Vogue Covers 1909-1940 [3]. For the analysis I have chosen seven issues of the magazine Jar-Ptitza, 39 covers of the magazine Russia Illustrated, and 48 covers of the magazine The New Yorker, 14 covers of Vanity Fair, 6 covers of House & Garden and 2 covers of Vogue from the period of the 1920s and 1930s. The number of magazines and covers, used for the analysis was limited by their availability.

The analysis of the six magazines revealed that two of them were published in Europe, namely in Berlin and Paris, and they were meant for immigrants, and the remaining 4 magazines were published by Condé Nast in New York, USA.

Jar-Ptitza and Russia Illustrated contain works of the immigrant artists generally created in the style of Russian Art Nouveau. This style is characterized by depicting folk, epic, fairy tale characters and by use of national Russian patterns and ornaments. Such stylistic design of magazines can be explained by the aim of immigrant publishers, who wanted to maintain Russian culture, identity, language and to introduce Russian art to foreign readers, as well as to represent the cultural life of the Russian immigrant community abroad.

It should be noted that the artists whose works were used in the immigrant magazines belonged to various pre-revolutionary artist associations (World of Art, Jack of Diamonds, Blue Rose), but the illustrated magazine covers they created have a common Russian-themed style because for the emigrant magazines publishers selected the artworks of those Russian immigrant artists who embraced the style of Russian Art Nouveau, which was fashionable at that time.

89

Each of the four magazines published by Condé Nast followed its own conception. The New Yorker, for instance, is a literary, political and satirical magazine, mainly covering cultural life of New York, and is known for its highly artistic and literary works of humor. Vanity Fair is a society magazine about popular culture, fashion, and current affairs. As the editor of Vanity Fair, Frank Crowninshield, once said, VF should cover “the things people talk about. Parties, the arts, sports, theater, humor, and so forth” [2]. House & Garden was a shelter magazine focused on interior design, entertaining, and gardening. And world-famous Vogue covers fashion and lifestyle issues. The difference in the concepts of Condé Nast magazines generates the difference in their themes for decorative design. It is interesting that such artists as Remisoff N., Soudeikine S., Bobritsky V., Shimin S., Alajalov C., and Bakst L. collaborated with all four American magazines, but with each magazine they strictly followed its concept, determined by the theme of the magazine. For instance, Bobritsky V. designed covers for all four magazines, but their topics are completely different. On the February cover of Vogue magazine in 1938, he portrayed a lady in a gold sparkling gown, riding an American Eagle over Manhattan skyline, proudly displaying red, white, and blue ribbons. A month later for the March cover of House & Garden Bobritsky V. did a painting of a house with all modern facilities, identifying heating, air conditioning, electricity and other utilities as the arteries, veins, and nerves of a household.

Thus, we see that Russian immigrant artists who collaborated with American magazines expressed the concept of the magazine in their artworks.

Therefore, we can conclude that the immigrant magazines were aimed at promoting and preserving Russian culture trough the artworks of Russian artists, while the American magazines’ goal was absolutely different – they expressed the concept of the publication through visual arts. Different aims of immigrant and American publications determined differences in the theme of pictures on the covers and illustrations of magazines, despite the fact that both magazines cooperated with Russian immigrant artists.

This conclusion raises a new question: "Why didn’t the Russian immigrant artists in America collaborate with the immigrant magazines in order to promote Russian art?” We can answer this question, using our knowledge of historical facts.

After the Revolution and the Civil War, a significant portion of the most educated and cultured people: writers, poets, composers, musicians, artists, etc. left the Russian Empire. Russian immigrants found their new homes in Germany, France and many other countries. Concentration of Russian immigrants in major European cities contributed to the formation of Russian emi-

90

gration centers, such as Russian Berlin or Russian Paris. The immigrants carried Russian culture along and tried to save it. So, they published periodical literature in the Russian language for themselves. In the 1930s, due to the geopolitical situation in Europe, the former citizens of the Russian Empire began to shift from Europe to the United States. However, despite the significant flow of Russian immigrants in the U.S, no Russian communities were formed for several reasons. Firstly, the system of Mutual Economic Assistance was not created there; secondly, Russian immigrants were disintegrated; thirdly, they were not able to define their sphere of employment and didn’t occupy any sectors of the economy; and finally, there was no sociopolitical or socio-cultural organization that could unite the Russian people in America. Since in the U.S. the Russian immigration centers were not formed, the number of periodicals published in Russian was remarkably smaller than in Europe. In the United States, by 1939 only four Russian language editions of the periodical press survived, while in the European publishing industry Russian immigrant press formed a whole separate cluster. Since the second half of the 1920s, France alone had about 200 Russian publishing houses.

As it has been mentioned earlier, in Europe there was a larger number of publishers of immigrant periodicals, that is why Russian immigrant artists could actively collaborate with them. Since the situation in the U.S. was different: Russian immigrant newspapers and magazines were not widespread because of the low concentration of immigrants from the Russian Empire, lack of large immigrant centers, and disintegration of Russian immigrants in the 1920s and 1930s, immigrant artists from the Russian Empire were forced to contribute to American publishing houses, where the design of magazines was dictated by a well-defined concept of the magazine. Ultimately, these factors explain the difference between the European immigrant and American magazines, decorated in the 1920s and 1930s by immigrant artists from the former Russian Empire.

Список литературы

1.Condé Nast Collection: URL: http://www.condenaststore.com/, сво-

бодный. – Загл. с экрана. – Яз. англ.

2.Jack Doyle FDR & Vanity Fair, 1930s: URL: http://www.pophistorydig.com, свободный. – Загл. с экрана. – Яз. англ.

3.William Packer The Art of Vogue Covers 1909–1940. New York: Bonanza Books, 1984. 256 c.

4.Сайт-архив эмигрантской прессы: URL: http://librarium.fr/ru, свободный. – Загл. с экрана. – Яз. рус., франц., англ.

91