Defining Russian Graphic Arts
Defining Russian Graphic Arts

Author: Jane Voorhees Zimmerli Art Museum

Publisher: Rutgers University Press

Published: 1999

Total Pages: 280

ISBN-13: 9780813526041

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Defining Russian Graphic Arts explores the energy and innovation of Russian graphic arts during the period which began with the explosion of artistic creativity initiated by Serge Diaghilev at the end of the nineteenth century and which ended in the mid-1930s with Stalin's devastating control over the arts. This beautifully illustrated book represents the development of Russian graphic arts as a continuum during these forty years, and places Suprematism and Constructivism in the context of the other major, but lesser-known, manifestations of early twentieth-century Russian art. The book includes such diverse categories of graphic arts as lubki (popular prints), posters and book designs, journals, music sheets, and ephemera. It features not only standard types of printed media and related studies and maquettes, but also a number of watercolor and gouache costume and stage designs. About 100 works borrowed from the National Library of Russia and the Research Museum of the Academy of Fine Arts in St. Petersburg, Russia-many seen here for the first time outside of Russia-are featured in this book. Additional works have been drawn from the Zimmerli Art Museum, The New York Public Library, and from other public and private collections. Together they provide a rare opportunity to view and learn about a wide variety of artists, from the acclaimed to the lesser known. This book is a companion volume to an exhibition appearing at the Jane Voorhees Zimmerli Art Museum at Rutgers University.

Art Periodical Culture in Late Imperial Russia (1898-1917)
Art Periodical Culture in Late Imperial Russia (1898-1917)

Author: Hanna Chuchvaha

Publisher: BRILL

Published: 2015-10-27

Total Pages: 319

ISBN-13: 9004301402

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Art Periodical Culture in Late Imperial Russia (1898-1917). Print Modernism in Transition offers a detailed exploration of the major Modernist art periodicals in late imperial Russia, the World of Art (Mir Iskusstva, 1899-1904), The Golden Fleece (Zolotoe runo, 1906-1909) and Apollo (Apollon, 1909-1917). By exploring the role of art reproduction in the nineteenth century and the emergence of these innovative art journals in the turn of the century, Hanna Chuchvaha proves that these Modernist periodicals advanced the Russian graphic arts and reinforced the development of reproduction technologies and the art of printing. Offering a detailed examination of the “inaugural” issues, which included editorial positions expressed in words and images, Hanna Chuchvaha analyses the periodicals’ ideologies and explores journals as art objects appearing in their unique socio-historical context in imperial Russia.

A Companion to Russian History
A Companion to Russian History

Author: Abbott Gleason

Publisher: John Wiley & Sons

Published: 2014-01-28

Total Pages: 566

ISBN-13: 1118730003

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This companion comprises 28 essays by international scholars offering an analytical overview of the development of Russian history from the earliest Slavs through to the present day. Includes essays by both prominent and emerging scholars from Russia, Great Britain, the US, and Canada Analyzes the entire sweep of Russian history from debates over how to identify the earliest Slavs, through the Yeltsin Era, and future prospects for post-Soviet Russia Offers an extensive review of the medieval period, religion, culture, and the experiences of ordinary people Offers a balanced review of both traditional and cutting-edge topics, demonstrating the range and dynamism of the field

An Ecology of the Russian Avant-Garde Picturebook
An Ecology of the Russian Avant-Garde Picturebook

Author: Sara Pankenier Weld

Publisher: John Benjamins Publishing Company

Published: 2018-02-15

Total Pages: 252

ISBN-13: 902726452X

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An Ecology of the Russian Avant-Garde Picturebook takes a new approach to interpreting 1920s and 1930s picturebooks by prominent Russian writers, artists, and intellectuals by examining them within the ecological environment that, first, made them possible and, then, led to their demise. It argues that naturalistic models of the complex interactions of dynamic systems offer effective tools for understanding the fraught interrelations of art and censorship in the early Soviet period. Through illustrative case studies, it mounts a close analysis of word and image and their synergistic interplay in avant-garde picturebooks, while also recontextualizing them within the ecology of their original environment where extraordinary countervailing forces played out a drama of which these books survive as telling artifacts. Ultimately, it argues that the Russian avant-garde picturebook offers a uniquely illustrative example of literary ecology that sheds light on issues of creativity and censorship, politics and art, more broadly as well.

Komiks
Komiks

Author: José Alaniz

Publisher: Univ. Press of Mississippi

Published: 2011-02-03

Total Pages: 280

ISBN-13: 1604733675

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José Alaniz explores the problematic publication history of komiks—an art form much-maligned as “bourgeois” mass diversion before, during, and after the collapse of the USSR—with an emphasis on the last twenty years. Using archival research, interviews with major artists and publishers, and close readings of several works, Komiks: Comic Art in Russia provides heretofore unavailable access to the country's rich—but unknown—comics heritage. The study examines the dizzying experimental comics of the late Czarist and early revolutionary era, caricature from the satirical journal Krokodil, and the postwar series Petia Ryzhik (the “Russian Tintin”). Detailed case studies include the Perestroika-era KOM studio, the first devoted to comics in the Soviet Union; post-Soviet comics in contemporary art; autobiography and the work of Nikolai Maslov; and women's comics by such artists as Lena Uzhinova, Namida, and Re-I. Alaniz examines such issues as anti-Americanism, censorship, the rise of consumerism, globalization (e.g., in Russian manga), the impact of the internet, and the hard-won establishment of a comics subculture in Russia Komiks have often borne the brunt of ideological change—thriving in summers of relative freedom, freezing in hard winters of official disdain. This volume covers the art form's origins in religious icon-making and book illustration, and later the immensely popular lubok or woodblock print. Alaniz reveals comics' vilification and marginalization under the Communists, the art form's economic struggles, and its eventual internet “migration” in the post-Soviet era. This book shows that Russian comics, as with the people who made them, never had a “normal life.”

Graphic Satire in the Soviet Union
Graphic Satire in the Soviet Union

Author: John Etty

Publisher: Univ. Press of Mississippi

Published: 2018-12-18

Total Pages: 292

ISBN-13: 1496820533

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After the death of Joseph Stalin, Soviet-era Russia experienced a flourishing artistic movement due to relaxed censorship and new economic growth. In this new atmosphere of freedom, Russia’s satirical magazine Krokodil (The Crocodile) became rejuvenated. John Etty explores Soviet graphic satire through Krokodil and its political cartoons. He investigates the forms, production, consumption, and functions of Krokodil, focusing on the period from 1954 to 1964. Krokodil remained the longest-serving and most important satirical journal in the Soviet Union, unique in producing state-sanctioned graphic satirical comment on Soviet and international affairs for over seventy years. Etty’s analysis of Krokodil extends and enhances our understanding of Soviet graphic satire beyond state-sponsored propaganda. For most of its life, Krokodil consisted of a sixteen-page satirical magazine comprising a range of cartoons, photographs, and verbal texts. Authored by professional and nonprofessional contributors and published by Pravda in Moscow, it produced state-sanctioned satirical comment on Soviet and international affairs from 1922 onward. Soviet citizens and scholars of the USSR recognized Krokodil as the most significant, influential source of Soviet graphic satire. Indeed, the magazine enjoyed an international reputation, and many Americans and Western Europeans, regardless of political affiliation, found the images pointed and witty. Astoundingly, the magazine outlived the USSR but until now has received little scholarly attention.

The personality cult of Stalin in Soviet posters, 1929–1953
The personality cult of Stalin in Soviet posters, 1929–1953

Author: Anita Pisch

Publisher: ANU Press

Published: 2016-12-16

Total Pages: 538

ISBN-13: 176046063X

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From 1929 until 1953, Iosif Stalin’s image became a central symbol in Soviet propaganda. Touched up images of an omniscient Stalin appeared everywhere: emblazoned across buildings and lining the streets; carried in parades and woven into carpets; and saturating the media of socialist realist painting, statuary, monumental architecture, friezes, banners, and posters. From the beginning of the Soviet regime, posters were seen as a vitally important medium for communicating with the population of the vast territories of the USSR. Stalin’s image became a symbol of Bolshevik values and the personification of a revolutionary new type of society. The persona created for Stalin in propaganda posters reflects how the state saw itself or, at the very least, how it wished to appear in the eyes of the people. The ‘Stalin’ who was celebrated in posters bore but scant resemblance to the man Iosif Vissarionovich Dzhugashvili, whose humble origins, criminal past, penchant for violent solutions and unprepossessing appearance made him an unlikely recipient of uncritical charismatic adulation. The Bolsheviks needed a wise, nurturing and authoritative figure to embody their revolutionary vision and to legitimate their hold on power. This leader would come to embody the sacred and archetypal qualities of the wise Teacher, the Father of the nation, the great Warrior and military strategist, and the Saviour of first the Russian land, and then the whole world. This book is the first dedicated study on the marketing of Stalin in Soviet propaganda posters. Drawing on the archives of libraries and museums throughout Russia, hundreds of previously unpublished posters are examined, with more than 130 reproduced in full colour. The personality cult of Stalin in Soviet posters, 1929–1953 is a unique and valuable contribution to the discourse in Stalinist studies across a number of disciplines.

Pedagogy of Images
Pedagogy of Images

Author: Marina Balina

Publisher: University of Toronto Press

Published: 2021

Total Pages: 569

ISBN-13: 1487506686

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This collection offers a variety of scholarly views on illustrated books for Soviet children, covering everything from artistic innovation to state propaganda.

From Realism to the Silver Age
From Realism to the Silver Age

Author: Margaret Samu

Publisher: Cornell University Press

Published: 2014-06-01

Total Pages: 243

ISBN-13: 1501757040

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This volume of thirteen essays presents rigorous new research by western and Russian scholars on Russian art of the nienteenth and early-twentieth centuries. Over More than three decades after the publication of Elizabeth Valkenier's pioneering monograph, Russian Realist Art, this impressive collection showcases the latest methodology and subjects of inquiry, expanding the parameters of what has become an area of enormous intellectual and popular appeal. Major artists including Ilia Repin, Valentin Serov, and Wassily Kandinsky are considered afresh, as are the Peredvizhnik and Mir iskusstva movements and the Abramtsevo community. The book also breaks new ground to embrace subjects such as Russian graphic satire and children's book illustration, as well as stimulating aspects of patronage and display. Collectively, the essays include a range of approaches, from close textual readings to institutional critique. They also develop major themes inspired by Valkenier's work, among them: the emergence and evolution of cultural institutions, the development of aesthetic discourse and artistic terminology, debates between the Academy of Arts and its challengers, art criticism and the Russian press, and the resonance of various forms of nationalism within the art world. These and other questions engage multiple disciplines—those of art history, Slavic Russian studies, and cultural history, among others—and promise to fuel a vibrant and ascendant field.