The Image of Paris in the Landscape Painting of С. P. Kousnetzoff in the 1900s-1930s.

The subject of the study is the landscape painting of French masters from the late 19th to the early 20th centuries. The focus of the research is the urban landscapes of С. P. Kousnetzoff from the 1900s to the 1930s. The aim of the work is to analyze the creative method of С. P. Kousnetzoff within the development of urban landscape painting in France during the 1900s to the 1930s. The article examines the influence of various artistic movements (Impressionism, Post-Impressionism, Expressionism, Symbolism, Fauvism) on the formation of urban landscapes in the oeuvre of the Russian migr artist С. P. Kousnetzoff (1863–1936), and attempts to explore the specificity and evolution of the artist's creative method through urban landscapes from the 1900s to the 1930s. Special attention is given to the influence of the works of C. Monet and P. Bonnard on the formation of С. P. Kousnetzoff's creative method. The methodology of the research relies on formal analysis of the artworks and the historical and cultural context of French art from the late 19th to the early 20th centuries. The scientific novelty of the work lies in the fact that it is the first attempt to investigate the evolution of the painter's style through С. P. Kousnetzoff's urban landscapes and to conduct a comparative analysis of the artist's works with those of French masters from the late 19th to the early 20th centuries. The degree of attention given to urban landscapes in the context of С. P. Kousnetzoff's work in domestic literature is limited, resulting in many Parisian landscapes by С. P. Kousnetzoff remaining unexplored. Despite the influence of various movements in French art, which rapidly changed one after the other, С. P. Kousnetzoff managed to achieve a unique creative freedom and to form his own, distinctive painting method. Throughout the research, the artist's works were collected and systematized, and their stylistic evolution was identified, characterized by a gradual transition from Impressionistic beginnings to subsequent painting movements. His later works exhibit a completely unique authorial hand that combines the diversity of artistic movements such as Impressionism, Post-Impressionism, Symbolism, Fauvism, and Expressionism. The results obtained may be useful for further study and analysis of the evolution of French painting in the context of urban landscapes, as well as for research dedicated to the work of С. P. Kousnetzoff and Russian migr artists.