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2-й Сельскохозяйственный пр-д, д. 2 (на территории специальной (коррекционной) общеобразовательной школы-интерната № 5)
VDNH, Rostokino, Botanicheskij Sad
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Contemporary urban sculpture
Годы постройки:
1966
Скульпторы:
А.В. Рыбкин
Назначение постройки:
Historical figures, Monuments on the school grounds
Автор: Департамент культурного наследия города Москвы
Информация о памятнике

Бюст установлен на бетонном постаменте. Пилон постамента постепенно переходит в блок необработанного мрамора, из которого, в свою очередь, проступают узнаваемые черты лица Н. А. Островского, на его голове буденовка.
Памятная надпись на постаменте выполнена из бетона: «Н. А. Островский».

Архитектор: В. Донских
Материалы: мрамор, бетон 

Автор статьи: Департамент культурного наследия города Москвы
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Интересное рядом(9)
Павильон №70Павильон имеет уникальную судьбу – он представлял Советский Союз на Всемирной выставке 1967 г. в Монреале (Канада). После окончания Expo 67 павильон разобрали и несколькими кораблями перевезли через океан обратно в Москву.
Павильон №70
VDNH
Botanicheskij Sad
3.48
Сельскохозяйственная ул., д. 9/2 (на территории ГУП г. Москвы «Мосгортранс», филиал «Трамвайное депо им. Н. Э. Баумана»)
VDNH, Rostokino, Botanicheskij Sad
VDNH
3.13
2.93
Cotton factory worker’s dorms in RostokinoAs it turns out - the “ugly” house in Rostokino is one of the most important buildings of the Soviet avant-garde.
Cotton factory worker’s dorms in Rostokino
VDNH, Улица Сергея Эйзенштейна
3.97
Northern Arch entrance to the Exhibition CenterАрка 1939 года являлась начальной точкой осмотра ВСХВ: пройдя ее, посетитель попадал на Административную площадь
Northern Arch entrance to the Exhibition Center
VDNH
3.68
‘Worker and Kolkhoz Woman’ Museum and Exhibition CentreThe museum and exhibition centre opened in September 2010 inside a new basement of a legendary sculpture by Vera Mukhina – ‘Worker and Kolkhoz Woman’. The 24-meter sculpture of Worker and Kolkhoz Woman, a masterpiece of soviet and world modernism of the first half of XX century, was created using new technologies discovered by Russian metallographist, Professor P. Lvov. A shell made of chrome-nickel steel was welded to a very heavy frame. The statue was made for the Soviet pavilion of the 1937 World's Fair in Paris and placed opposite the Nazi German pavilion, crowned with a ruffled eagle and the swastika. The collection of the museum and exhibition centre contains materials reminding that the architect of the exhibition pavilion, Boris Iofan, was the author of the idea. It was the antique statue ‘Tyrannicides’ representing the plastic arts that inspired him. The hands with swords raised to the sky were replaced with the hands holding attributes of peace, symbols of the Soviet country - a hammer and sickle. The fact that the author of the image was Iofan is confirmed by the sketches of the sculpture made for the closed 1936 competition by V. Andreev, V. Mukhina and M. Manizer. At first glance, all the works (except for the expressionist monument of I. Shadr that also participated in the competition) are very similar: the same position of the figures and their raised hands. Only among male authors the statues looked like the cold ancient gods in their perfection, and V. Mukhina filled her work with the indomitable force of internal energy and passion. On its return home the sculpture greeted visitors at the northern entrance of the All-Union Agricultural Exhibition – All-Union Exhibition of Achievements of National Economy for 70 years (VSHV-VDNKh – the Russian acronyms). It was placed on a low pedestal (11 m) and was slowly deteriorating. Until the end of their lives, both Mukhina and Iofan fought for erecting a pedestal which would be proper in height, for transferring the statue to those places where it would become the visual supplement of the urban space (Mukhina wanted to see her creation on the Lenin Hills). During their life that did not happen. However, representatives of modern post-Soviet art fell in love with the monument and considered it to be an object of new happenings and performances. Suffice it to recall the 1998 performance, when architects and artists dressed the Worker and the Kolkhoz Woman in real overalls and dresses in the colours of the Russian flag. Nowadays the sculpture is erected on a pedestal-pavilion, created in the way that Iofan designed for the 1937 Paris exhibition. Thus, the idea of the relay of the new domestic art is deliberately emphasized, from the innovations of the first half of the 20th century to the avant-garde of the first half of this century. Sergey Khachaturov
‘Worker and Kolkhoz Woman’ Museum and Exhibition Centre
Prospect Mira, 123B
VDNH
4.92
Botanicheskij Sad
5.00