ST. PETERSBURG, MARCH 5 – “It is important to acknowledge that Etruscology, in Russia, remains a relatively niche field, and the study of Etruscan art is not yet fully developed,” acknowledges Maria Zavorina. “There are very few active researchers in this area. However, we closely follow the achievements of our international colleagues and aim to conduct our research at the forefront of current scientific discourse“.
Maria ZavorinaA PhD candidate at Lomonosov Moscow State University, Zavorina is a researcher in
the Department of Classical Antiquities at the Hermitage Museum. She specializes in Etruscan art, with a particular focus on the museum’s distinguished collection of bronze mirrors. She is closely working together with the department’s director, Dr. Anna
Trofimova, recently interviewed by Etruscan Times.
– What are the main challenges in studying Etruscan art in Russia?
The main challenge lies in the absence of a well-established tradition and an academic hub capable of coordinating research activities, consolidating findings, fostering debate, developing methodologies and serving as a central point of reference for scholars. There are no dedicated research centers for Etruscan studies, nor are there influential figures like Alexander Nemirovsky and Nikolay Zalessky, who, between the 1960s and 1990s, trained a generation of exceptional scholars.
Pushkin State Museum of Fine ArtThe Hermitage and the Pushkin Museum of Fine Arts in Moscow house extraordinary
Etruscan collections and have excellent specialists who study them. At Russian
universities, students of classical culture and art receive a solid education. However,
Etruscology is not yet a widely pursued or popular field of study. Additionally, the lack of collaboration among specialists, the absence of large-scale research projects, and the limited availability of shared resources—such as electronic archives of rare or hard-to-access publications on Etruscan studies—significantly hinder progress.
– How would you assess the state of Etruscan art studies at the Hermitage?
In Russia, and especially at the Hermitage, this field enjoyed a period of significant development between the 1970s and 2000s, marked by notable advancements and the publication of innovative studies. These successes were bolstered by a series of international collaborations, including exhibitions, conferences, and symposiums, with the active involvement of the Hermitage.
The Hermitage’s collection of Etruscan antiquities—which includes bronzes, terracottas, ceramics, and painted vases—has been extensively studied. Many artifacts have been newly attributed and contextualized within the broader landscape of Etruscan art. This work continues today, with contributions such as the publication of Etruscan and Italic vases in the international project Corpus Vasorum Antiquorum.
– Not all initiatives, however, have been completed. Could you elaborate?
Evgeny MavleevFor example, the Hermitage’s remarkable collection of Etruscan bronze mirrors, which
was thoroughly studied by Evgeny Mavleev in the 1980s and 1990s, remains unpublished. Mavleev conducted pioneering work on typology, design, and attribution of the mirrors, analyzing their stylistic and iconographic features and offering new interpretations of the engraved motifs. Unfortunately, his manuscript was never published after his passing in 1995.
Mirror Aphrodite and Adonis (Photo by D.Sirotkin)I am currently preparing a catalog of these mirrors, updating the data with the latest research and incorporating new discoveries alongside Mavleev’s findings. We also hope to contribute to the international project Corpus Speculorum Etruscorum.
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