The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
The Venezuelan art critic Enrique Planchart analyzes the work of Nicolás Alexeevich Ferdinandov. In his text, Planchart comments on the general aspects of the personality of this Russian architect and visual artist who made an extended visit to Venezuela. He also analyzes and describes the main characteristics of his bodies of work. Planchart notes his studies in arts academies in Moscow and Petrograd [now once again called St. Petersburg], as well as his marked incompatibility with their strict educational systems. Regarding Ferdinandov’s personality, the writer emphasizes a duality (“in the spirit of Ibsen”) and alternates between someone who is sentimental and utopian and another who is an individualistic adventurer. Regarding the nature of his artwork, Planchart establishes the difference between the two sides: a realistic tendency (not as any direct copying of nature, but nature through the transformative emotion of art) and another side seen in the fantasy and scenography that appears in the artist’s works.
On the occasion of a visit to Caracas by the Russian architect and visual artist Nicolás Alexeevich Ferdinandov (1886–1925), the art critic Enrique Planchart (1894–1953) drafted an analytical review. Featuring the writer’s unique poetic language, the essay provides an account of the artist’s studies, aspects of his personality, and most importantly, the defining characteristics of his work. Moreover, it describes, in formal terms, some of the works shown in January 1920 in one of the rooms at the Universidad Central de Venezuela. The exhibition referenced also featured the work of some Venezuelan painters (including Armando Reverón, Rafael Monasterios, and Federico Brandt).
Planchart informs the reader of the reiterative qualities in Ferdinandov’s visual artwork. In addition, he points out the possible relationships, differences, and influences in his style that may have affected the artwork of the Venezuelan artists of this period.
In addition, this text is a vital source documenting Ferdinandov’s stay in Venezuela, since neither the collection, nor the research on the work, is extensive.