The Anatoly Bakushinsky’s Seminarium (1917–1926) at the Tsvetkov gallery in Moscow became one of the first experimental and most influential venues to develop approaches to the perception of art in Soviet Russia. In it, Bakushinsky, an art critic and the head of the Physical-Psychological Department of the State Academy of Artistic Sciences (GAKhN), incorporated the practice of formal art history into a methodology based on materialism, psychology, and experimental aesthetics widely practiced at the GAKhN. Today, this combination of approaches is perceived as an isolated historical example of an outmoded eclecticism. I argue, however, that Bakushinsky’s methodology should be studied in the context of the complex institutional structure of the Academy that was designed to ensure multidisciplinary work in art studies and its almost immediate implementation into art practice. This institutional and material nexus of the GAKhN’s history opens up a new direction in studying the intellectual legacy of Soviet humanities of the 1920s, which is otherwise often reduced to biographical narratives.

莫斯科 Tsvetkov 画廊的 Anatoly Bakushinsky's Seminarium（1917-1926）成为第一个实验性和最有影响力的场所之一，以开发苏联俄罗斯艺术感知方法。在其中，艺术评论家、国家艺术科学院 (GAKhN) 物理心理系主任巴库欣斯基将正式艺术史的实践纳入了一种基于唯物主义、心理学和实验美学的方法论，该方法广泛应用于GAKhN。今天，这种方法的组合被视为过时折衷主义的孤立历史例子。然而，我认为，巴库申斯基的方法论应该在学院复杂的制度结构的背景下进行研究，该结构旨在确保艺术研究中的多学科工作及其几乎立即落实到艺术实践中。GAKhN 历史的这种制度和物质联系为研究 1920 年代苏联人文学科的知识遗产开辟了新的方向，否则这些遗产往往被简化为传记叙事。