Andrey Poletaev is an artist. Andrey Poletaev

Andrei Vladimirovich Poletaev died

On September 18, our colleague, repeated author of "Demoscope Weekly" and "Population and Society", full professor at the State University-Higher School of Economics, deputy director of the Institute of Humanitarian Historical and Theoretical Research at the State University-Higher School of Economics, Andrei Vladimirovich Poletaev, passed away. Together with the friends and relatives of Andrei Poletaev, Demoscope mourns the death of this extraordinary man.

We are reprinting the obituary signed by Andrei Vladimirovich’s colleagues at the Institute and publishing the farewell words of his friends - Vladimir Avtonomov, Leonid Grigoriev and Vladimir Gimpelson..

An unusually gifted and versatile scientist, the author of numerous books, he was a renowned specialist in the sociology of knowledge and the history of ideas, the methodology of historical science and the economic history of modern and contemporary times. A brilliant researcher and teacher, Andrei Vladimirovich was a person endowed with a high sense of responsibility, scientific integrity and exactingness towards himself and his colleagues. Everything he did, he did according to the “Hamburg account”, at the highest professional level. One of the last things in which Andrei Vladimirovich invested a lot of energy, soul and talent was the creation of the Faculty of History at the State University Higher School of Economics. On September 21, he was supposed to give his first lectures to students of the new faculty...

Andrei Vladimirovich Poletaev was an encyclopedist and an innovator in everything: in research, in the organization of scientific activity and in the way he prepared future scientists for it. He knew how to combine the rigor of the method, precision and accuracy in handling the material with research audacity and brilliant intuition.

Having entered MSU named after M.V. Lomonosov, he chose economic cybernetics - a specialty from which, for all its relevance and prestige in the world, the ban was barely lifted in Soviet times; a specialty that required equally deep knowledge in mathematical and economic disciplines. While still a student, he, like many future founders of the new Russian economic science, taught at the legendary Economics and Mathematics School of Moscow State University - EMS, founded in 1968.

Andrei Vladimirovich began his research work at the Institute of World Economy and International Relations (IMEMO) under the leadership of Revold Mikhailovich Entov. At the turn of the 1980s and 1990s, his works, together with the works of his teacher and colleagues at IMEMO, allowed Russian economic science to become a science in the full sense of the word - without regard to ideological and censorship circumstances. A professional “foreigner,” he always focused on the modern level of scientific knowledge, remembering the need for a “Hamburg account.” His works were very bold for his time: dealing with the problem of resource distribution in a capitalist (market) economy, he questioned the dogmatic ideas for Soviet economics about the monopoly role of the state in this process. The priority of scientific rigor over ideological bias, characteristic of his research style, was an important feature necessary for the transition of Russian science to new thinking. Having received a doctorate very early (in 1989) and a professorship (in 1994), Andrei Vladimirovich never left his teaching work. He became a mentor to several generations of scientists: his students are now among those who determine the shape of Russian economic science.

Most “guild” experts on the past recognized Andrei Vladimirovich, probably from the late 1990s, through his historical and theoretical works. But his interest in bygone eras was organically connected with his previous economic and statistical research, with his work on translations and mastery of the works of the classics of Western economic thought at the height of “developed socialism.”

His path from “rigorous” science to “non-rigorous” science is unique in that he never lowered the standards for the logic of argumentation and the accuracy of results. The economy of the perestroika USSR, the history of the recognition of Russian economists in the West, macroeconomic indicators and their explanatory potential, comparative statistical analysis - behind all his “non-humanitarian” research there was the same thought, attentive to particulars and details, but maintaining the architectonics and systematicity of holistic knowledge. Without this, the almanac “THESIS” would not have taken place in the early 1990s, uniting “the best of the best” - economists, historians, sociologists - without a condescending division into “those there” and “those around here.” Andrei Vladimirovich was among those few people who, through their works, speeches and indispensable personal efforts in a variety of institutions, contributed to the fact that this very, previously obvious to everyone, border between world and domestic science becomes permeable and in some ways only geographical .

The combination of strong theoretical thinking with the broadest erudition and cultural will allowed Andrei Vladimirovich to radically influence the state of the theory of historical knowledge in Russia: his works of recent years have taken into account, generalized and transformed the most important current achievements of Western social thought; they offer new tools for studying historical reality. The organizational work that Andrei Vladimirovich has carried out in recent years had as its main goal the creation of such institutional forms that would allow him to fully implement his theoretical and humanitarian project - a project of synthesis of research, pedagogy and innovative strategies of scientific administration.

The first step towards the implementation of this project was the founding, through joint efforts with Irina Maksimovna Savelyeva, of the Institute of Humanitarian Historical and Theoretical Research at the State University Higher School of Economics in 2002. The recently opened Faculty of History at HSE owes its birth to a large extent to Andrei Vladimirovich. The systemic property of the institutions, at the origins of which Andrei Vladimirovich stood, is a unique energy potential, breadth of prospects and diversity of development opportunities.

He forced everyone around him to live such a stormy and eventful life that it is very difficult to believe in his death. His contribution and place in the panorama of modern Russian social science are unique. No matter how attentive he may be to macro-trends, quantifiable patterns and collective indicators in the dynamics of knowledge, there is no one to replace him in science as a common enterprise.

He passed away so early and so quickly that we didn’t even have time to say goodbye to him. Now we feel only one thing - the loss of a loved one. And this feeling drowns out everything else. For many years we lived next to each other, talked with him, argued, we loved to laugh together. After his departure, a gaping void was left.

IGITI team

Friends of Andrei Vladimirovich Poletaev - we still simply cannot believe that he is gone.

Most of his colleagues and students in the last fifteen years have known him mainly as a strict professor, one of the leaders of IGITI, publisher of THESIS, author of brilliant books, critic of scientific works.

We know him as a brilliant conversationalist, a man of endless charm, the greatest possible general erudition and sense of humor - for us he is Andy. In the 70s, he taught children at the Moscow School of Music and quite convincingly played Eeyore in the English Musical Theater at the Faculty of Economics of Moscow State University. He played the guitar, sang and wrote his own songs. Until the 21st century, we beat the “continental” together in 14 pas. We will remember with pleasure and pride to the pragmatic youth that he drank beer with us!

And he also received a theoretical doctorate in economics at the age of 37 from the IMEMO Academy of Sciences - on the rate of profit from ancient times to the present day. And plus there are a lot of books on statistics and education and a lot of other interesting things done and invented. Everything is always absolutely professional - it has become an “assay chamber” for assessing the quality of work in several sciences at once.

His talents and versatility would be enough for five areas of knowledge, five professional scientific clubs and five fun companies. He was a formative player in any such team or company. And our common memory of the outstanding economist and historian Andrei Poletaev will quite naturally live together with our common memory of a cheerful, talented man who never grew old at all during the four decades that we were happily friends with him!

Leonid Grigoriev

Andrey was very different: in his student years - the soul of society, with a guitar, on the stage of the English Theater of the Faculty of Economics, captain of the KVN team at the anniversary of our beloved School of Economics and Mathematics. There was lightness in him, even a certain charming frivolity.

At IMEMO, in the famous Entov sector, Andrei purposefully pursued a scientific and social career, did not waste time on stupid things like chess, go and other games to which we paid tribute, defended himself relatively early for our leisurely sector, joined the party, became chairman of the Youth Council scientists. Discovered good literary style and the qualities of an excellent scientific editor. We were prepared for the fact that one day he would be our boss. But it was not there! At the next turn, Andrei abruptly went into pure science, and in an area quite far from his initial studies. Together with Irina Savelyeva, he managed to create such interesting and generally useful things for the participants as the THESIS almanac, the IGITI Institute, and write many scientific books when practically no one wrote them. He liked to say that he had ceased to be an economist, but his articles published from time to time about the state of our economic science and education always attracted attention with their sharpness and evidence.

Whatever Andrey did, he was never boring, there was always something interesting around him. Most of my life went with him.

Vladimir Avtonomov,
Dean, Faculty of Economics, State University - Higher School of Economics, corresponding member. RAS

It is impossible to believe that Andrei Poletaev has left and we will never see him again. The severity of this loss is inexpressible in words.

Andrei was distinguished by special human wisdom and amazing intellectual depth, harmoniously combined with other remarkable and also very rare qualities - enormous demands on himself, immense responsibility, an extraordinary sense of humor, endless capacity for work, encyclopedicism and at the same time tact and simplicity in communication. He was amazingly generously rewarded with numerous and varied talents. Economist, historian, sociologist, statistician, philosopher... Andrei was interested in a lot of things, but in everything he did, he got to the essence and achieved perfection. It was a great joy to drag him into a new project and work alongside him. He left and now there is simply no one to consult with on very different issues. We are all orphaned...

Vladimir Gimpelson

There is hardly a person who has not held a ballpoint pen in his hand and has not once caught himself drawing intricate designs on paper during boring lectures or meetings. Until recently, this item had an exclusively utilitarian function and was used by 20th century artists only to create sketches. Now drawing with a ballpoint pen has begun to rapidly gain popularity in artistic circles as an independent direction.

Andrey Poletaev, an artist originally from Ukraine, has been specializing in ballpoint pen drawings for many years. With just this simple tool and paper, he creates stunning designs, from sun-drenched cityscapes to compelling celebrity portraits.

Andrei’s exhibitions are held all over the world: in Germany, Switzerland, France, but the artist’s drawings have received special attention in the USA, where at the exhibition of art and cinema in Nashville, his drawing won in four categories at once.

Despite his growing popularity, Andrei demonstrates his works to the public, but he himself prefers to remain in the shadows: in his opinion, the drawings themselves speak for the artist. However, Anastasia Teplitskaya contacted Andrey and asked several questions about the intricacies of creating masterpieces with a ballpoint pen.

Artifex: Tell us, when did you first use the technique of drawing with a ballpoint pen?

I think when I was still at school and sitting in the back desk during class, I drew stamps on a medical certificate form to be excused from classes.

Artifex: Did it work?

Although I didn’t do this often, when I did, it turned out flawlessly.

Artifex: On your website you wrote that you periodically use different techniques: oil, pencils, markers, but, nevertheless, a regular ballpoint pen is your favorite tool. Why?

It is difficult to answer this question unambiguously. To understand why I chose a ballpoint pen, the viewer needs to see the original of my drawing. What can be seen through the monitor, even in the best case, conveys less than half the impressions received from viewing the original.

Artifex: Don't you think that the "potential" of a ballpoint pen is not rich enough for artistic expression?

No, not at all. Ballpoint pen drawing has only recently emerged as an independent art direction. And it still has many undisclosed facets. After all, just some 5-10 years ago, a ballpoint pen was not used at all by artists to create works of art. And now the viewer can see that high-quality works are created with its help. I think we will see a lot more interesting things in the future.

Artifex: I wonder how many pens are needed for one drawing?

It depends on the pen and the design. For a big job, I think from one to three.

Artifex: I would venture to guess that, unlike many people, you treat the choice of this item with great attention and exactingness. What should your ballpoint pen be?

In different regions, retail outlets give preference to different manufacturers, but you can always find something worthy. There are manufacturers from whom even the cheapest pen can be superior in quality to the expensive pen of some other manufacturers. As for my choice, it all depends on my mood and what I want to get in the end. Handles can be very diverse: from cheap to expensive, with a diameter of 0.28 mm. up to 1.4 mm.

Artifex: How many do you have in stock?

I am not a fan of making large stocks of pens; over time, they tend to dry out, which can negatively affect work. But I still have significantly more pens than the average person.

Artifex: Tell us, what are the difficulties when working with a ballpoint pen?

The most difficult thing, perhaps, is that when working with ink, there is no room for error. What is put on paper once remains there forever. Considering that some jobs take up to 300 hours, this puts some pressure.

In addition, when drawing with a ballpoint pen, I am limited in color, and when working in monochrome, I have to constantly solve a lot of problems. For example, how to convey an image, preserving it as much as possible and using only one color. I've been asked many times why I don't use colored ballpoint pens. The answer is simple. If you pay attention to large sets of colored pens, you will see on many that the manufacturer does not recommend using them for signing documents. It is unknown how colored ink will behave in 10-20 years, so there is no desire to take risks.

Artifex: What is the most difficult thing for you to draw?

I don't look at work as difficult or easy, but only at the time it takes. Any artist draws well what he likes, and does it as well as he wants. The most serious “enemy” of my work is time. And attempts to fight it do not leave the best imprint on its quality. So if I want to draw something better, I just spend more time on it. Probably, for myself, I measure the complexity of work in hours.

Artifex: In one of the interviews you said that in your works “never try to expose or turn anything out…”

Yes, I always emphasize that in my works I touch upon the simplest subjects. Everything that we can encounter in everyday life. The life of a modern person is so fast-paced that we stop noticing our surroundings. I just capture the moment, give the viewer the opportunity to become an outside observer and, unnoticed by the outside world, look at it from the outside. And then, if the plot has at least to some extent hooked the viewer, then he will be able to find something for himself.

Artifex: Please tell us why you prefer to remain incognito for the press and fans?

I show the viewer only my creative part. His works should speak for the artist. I prefer to keep my personal life to myself, and who ate what at lunch, who has the coolest selfies - there are enough of them without me. As for the press, I am always open to contact, but communication takes place through my official representative. And I reserve the opportunity to visit my own exhibitions as a spectator.

Artifex: Have you ever accidentally heard any interesting criticism addressed to you?

Unfortunately no. The harshest criticism is my own.

Artifex: They say that any writer, with any of his works, first of all shows himself, just as the artist himself appears before the viewer in his canvases. What do you think can be learned about you as a person by looking at your drawings?

Here one could praise oneself, but the answer is simple: what he does and how he acts speaks about a person. Therefore, it is not for me to judge myself.

), Professor ().

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Subtitles

Biography

Born into the family of Doctor of Historical Sciences V. E. Poletaev, who studied the history of Moscow. Graduated Moscow State University in ( Faculty of Economics, Department of Economic Cybernetics), taught at the Economics and Mathematics School of Moscow State University. After graduating from university, he came to work at. In the department of “General problems of capitalism” he was an employee of the sector R. M. Entova, and then he himself headed the “Evolution of a Market Economy” sector until 2008. In the 1990-2000s, he also actively collaborated as an expert in the activities of UNESCO, the World Bank and other analytical institutions. Participated in translations into Russian of the works of leading Western economists (V. Leontiev, J. Hicks, J. Clark, etc.). In 1993-1994 - creator and executive editor almanac THESIS, which contributed to updating the language and methods of Russian social and humanitarian disciplines, bringing them closer to world science. In 1996–2001, one of the organizers of the “Translation Project” and “University Library” projects carried out (by the Soros Foundation) in Russia. As part of both projects, more than 400 Western fundamental studies in the main social and humanities disciplines were translated and published. IN 2002 was one of the initiators of the creation of the Institute of Humanitarian Historical and Theoretical Research (IGITI) National Research University Higher School of Economics, whose central research focus was sociology and the history of the humanities and social sciences. He worked as deputy director of the Institute. Full professor at the National Research University Higher School of Economics ().

Creation

The early works of A. V. Poletaev are associated with identifying the dynamics of the modern American economy against the background of historical indicators. Since the late 1980s, the subject of his interest has been long-term and cyclical processes in the world economy (heritage N.D.Kondratieva and the idea " long waves"), taking into account the achievements of the American cliometrics and new approaches to the study of economic history. Particularly significant is the series of works by A. V. Poletaev (performed together with I. M. Savelyeva) on modern theory of history and the study of the evolution of images of the past in different eras. In the center of research in recent years are the problems of the classical heritage in world and domestic science, innovative formulation of problems of comparative science, as well as an assessment of the prospects and directions of theoretical reflection in modern social science.

Since October 2010, his name has been given to the Institute of Humanitarian Historical and Theoretical Research.

Publications

Monographs and textbooks

• Savelyeva I.M., Poletaev A.V. Classical heritage. M.: ID GU-HSE, 2010. – 336 p. (abstract and table of contents)
• Savelyeva I. M., Poletaev A. V. Theory of historical knowledge (textbook for universities). St. Petersburg: Aletheia; M.: State University-Higher School of Economics, 2008, 523 p. (abstract and table of contents)
• Savelyeva I.M., Poletaev A.V. Social ideas about the past, or Do Americans know history. M.: New Literary Review, 2008, 456 p. (abstract and table of contents)
• Savelyeva I.M., Poletaev A.V. Sociology of knowledge about the past (textbook for universities). M.: GU-HSE, 2005, 344 p. (abstract and table of contents)
• Savelyeva I.M., Poletaev A.V. Knowledge of the past: Theory and history. In 2 volumes. T. 1: Construction of the past. T. 2: Images of the past. St. Petersburg: Nauka, 2003, 2006, 632 pp.; 751 p.
• Savelyeva I. M., Poletaev A. V. History and time: in search of the lost. M.: Languages ​​of Russian culture, 1997, 800 p. Tzh. in Bulgarian: Savelieva I.M., Poletaev A.V. History and time: In tarsen on izgubenoto / Transl. B. Penchev, Kh. Karastoyanov. Sofia: Stigmati, 2006, 716 p.
• Poletaev A.V., Savelyeva I.M. Kondratiev cycles and the development of capitalism (experience of interdisciplinary research). M.: Nauka, 1993. - 249 p. Tzh. 2nd revision ed.: Poletaev A.V., Savelyeva I.M. “Kondratiev Cycles” in historical retrospective. M.: Justitsinform, 2009. – 272 p. (abstract and table of contents)

Collective monographs of IGITI

• Classics and classics in social and humanitarian knowledge / Rep. ed. I. M. Savelyeva, A. V. Poletaev. M.: New Literary Review, 2009. – 536 p.
• Phenomenon of the past / Answer. ed. I. M. Savelyeva, A. V. Poletaev. M.: GU-HSE, 2005, 476 p.