The Courtauld Scholarship Fund
STUDENTS’ STORIES: Margarita Oganesian
Margaryta Oganesian is the first MA student at The Courtauld to be awarded the Olga Lopukhova scholarship from the Moscow-based VICTORIA — The Art of Being Contemporary foundation.
Margarita Oganesian was born in Russia and studied in Kiev (Ukraine) in The Kyiv-Mohyla Academy. As an undergraduate student she combined her studies with working in the Russian Auction House Gelos and in the Museum of Western Art in Kiev. All this helped her develop her academic and professional goals. At The Courtauld she wishes to specialize in the Russian Avant-garde of 1910-1920 and its connection to mass and high culture, and develop professional skills which she feels are needed in Russia and in Ukraine: “While working in the art market, I saw from within the unfortunate lack of skilled professionals in artwork attribution and the shortage of evaluation specialists. It is especially difficult for analysis of Avant-garde works.”
Margarita’s ambition to apply British experience in bringing together art scholarship and business, to the Ukrainian and Russian art scene, is a perfect answer to the essential condition of her scholarship. Young Russian Art Historians who are awarded Olga Lopukhova scholarships should have a vision of their contribution to the development of the art sector in Russia. Andrey Dominov, Director of Auction House Gelos, where Margarita worked before coming to The Courtauld, is confident about her future: “Margarita is a committed and determined person. In the United Kingdom she will obtain solid knowledge necessary to realize all her beneficial plans for working in Ukranian and Russian fields of art.’
The economic situation in Russia – and broadly, in the countries from the former Soviet Union – makes overseas tuition fees and living in London out of reach of the majority of students. Without a scholarship The Courtauld’s MA in Russian Art would have remained an unattainable dream for Margarita. Now that the Olga Lopukhova Scholarship covers her tuition fees, she starts her studies with Professor Milner with confidence, and will concentrate on Russian artists in Western European Art centres in 1919-30s and on first exhibitions of the Russian Avant-garde in Europe.
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