At the heart of this pioneering study - the result of exhaustive comparative research in Russian, European and American collections - is an illustrated catalogue which provides detailed descriptions of each work in the context of the artist's career and the broader artistic developments of the age. The condition, provenance, and previous location of the works are also detailed. The catalogue is introduced by three essays: The Russian Avant-Garde, the Hungarian Avant-Garde, and the history of the collecting of Russian Avant-Garde art. The volume concludes with artists' biographies, bibliographical information, a glossary and index. A catalogue of 59 works, written by two of the most eminent scholars in the field.
This book brings together thirteen scholars to introduce the newest and most cutting-edge research in the field of Russian and East European art history. Reconsidering canonical figures, re-examining prevalent debates, and revisiting aesthetic developments, the book challenges accepted histories and entrenched dichotomies in art and architecture from the nineteenth century to the present. In doing so, it resituates the artistic production of this region within broader socio-cultural currents and analyzes its interconnections with international discourse, competing political and aesthetic ideologies, and continuous discussions over identity.
"This book addresses the lively artistic dialogue that took place between Russia and the West - in particular with the United States, Britain, and France - from the 1860s to the Khrushchev Thaw. Offering new readings of cross-cultural exchange, it illuminates Russia's compelling, and sometimes combative, relation with western art in this period of profound cultural transformation." "This illustrated volume will appeal to students, scholars, and general readers seeking to understand the fuller context of Russian artistic culture during a remarkable century of social and political change."--BOOK JACKET.
Several stark premises have long prevailed in our approach to Russian history. It was commonly assumed that Russia had always labored under a highly centralized and autocratic imperial state. The responsibility for this lamentable state of affairs was ultimately assigned to the profoundly agrarian character of Russian society. The countryside, home to the overwhelming majority of the nation's population, was considered a harsh world of cruel landowners and ignorant peasants, and a strong hand was required for such a crude society. A number of significant conclusions flowed from this understanding. Deep and abiding social divisions obstructed the evolution of modernity, as experienced "naturally" in other parts of Europe, so there was no Renaissance or Reformation; merely a derivative Enlightenment; and only a distorted capitalism. And since only despotism could contain these volatile social forces, it followed that the 1917 Revolution was an inevitable explosion resulting from these intolerable contradictions—and so too were the blood-soaked realities of the Soviet regime that came after. In short, the sheer immensity of its provincial backwardness could explain almost everything negative about the course of Russian history. This book undermines these preconceptions. Through her close study of the province of Nizhnii Novgorod in the nineteenth century, Catherine Evtuhov demonstrates how nearly everything we thought we knew about the dynamics of Russian society was wrong. Instead of peasants ground down by poverty and ignorance, we find skilled farmers, talented artisans and craftsmen, and enterprising tradespeople. Instead of an exclusively centrally administered state, we discover effective and participatory local government. Instead of pervasive ignorance, we are shown a lively cultural scene and an active middle class. Instead of a defining Russian exceptionalism, we find a world recognizable to any historian of nineteenth-century Europe. Drawing on a wide range of Russian social, environmental, economic, cultural, and intellectual history, and synthesizing it with deep archival research of the Nizhnii Novgorod province, Evtuhov overturns a simplistic view of the Russian past. Rooted in, but going well beyond, provincial affairs, her book challenges us with an entirely new perspective on Russia's historical trajectory.
Life in the modernist era not only moved, it sped. As automobiles, airplanes, and high-speed industrial machinery proliferated at the turn of the twentieth century, a fascination with speed influenced artists—from Moscow to Manhattan—working in a variety of media. Russian avant-garde literary, visual, and cinematic artists were among those striving to elevate the ordinary physical concept of speed into a source of inspiration and generate new possibilities for everyday existence. Although modernism arrived somewhat late in Russia, the increased tempo of life at the start of the twentieth century provided Russia’s avant-garde artists with an infusion of creative dynamism and crucial momentum for revolutionary experimentation. In Fast Forward Tim Harte presents a detailed examination of the images and concepts of speed that permeated Russian modernist poetry, visual arts, and cinema. His study illustrates how a wide variety of experimental artistic tendencies of the day—such as “rayism” in poetry and painting, the effort to create a “transrational” language (zaum’) in verse, and movements seemingly as divergent as neo-primitivism and constructivism—all relied on notions of speed or dynamism to create at least part of their effects. Fast Forward reveals how the Russian avant-garde’s race to establish a new artistic and social reality over a twenty-year span reflected an ambitious metaphysical vision that corresponded closely to the nation’s rapidly changing social parameters. The embrace of speed after the 1917 Revolution, however, paradoxically hastened the movement’s demise. By the late 1920s, under a variety of historical pressures, avant-garde artistic forms morphed into those more compatible with the political agenda of the Russian state. Experimentation became politically suspect and abstractionism gave way to orthodox realism, ultimately ushering in the socialist realism and aesthetic conformism of the Stalin years.
Written by leading scholars at the forefront of new thinking, many of whom are rising stars in their fields, the Oxford History of Art series offers substantial and innovative texts that clarify, illuminate, and debate the critical issues at the heart of art history today. This groundbreaking series makes use of new research and methodologies, as well as newly accessible and non-canonical works, to offer comprehensive coverage of the art world. Lavishly illustrated and superbly designed, the Oxford History of Art brings new substance and verve to the exciting and ubiquitous world of art. The latest addition to the series is a pioneering overview of the visual cultures of Eastern Europe in the modern age. Here, art historian Jeremy Howard challenges traditional definitions of what constitutes "European" art and embraces the whole spectrum of art creation, including painting, sculpture, architecture, the applied arts, photography, and performance. Avoiding conventional art historical divisions, Howard focuses on the many hidden relationships between the different art forms and artistic cultures that flourished in the vast region known as Eastern Europe, and how these cultures inter-related with the wider world. In addition to the rise and fall of the two great art academies in Vienna and St. Petersburg, Howard examines the blending of migratory and sedentary cultures in the region, the role of women, and the political manipulation of the image. He brings to the fore many overlooked artists and concentrates on neglected elements of work by better-known figures. Throughout, he reveals how the Habsburg, Romanov, and Ottoman empires vied with one another through art and how individuals and nations strove to maintain and realize their voice through visual language. Bringing light to a woefully neglected subject, Howard has produced a work that will prove essential reading for lovers of art history and Eastern European culture.
This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe?s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists? strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period. ÿ
This bibliography, first published in 1957, provides citations to North American academic literature on Europe, Central Europe, the Balkans, the Baltic States and the former Soviet Union. Organised by discipline, it covers the arts, humanities, social sciences, life sciences and technology.
In 1911 Vasily Kandinsky published the first edition of ‘On the Spiritual in Art’, a landmark modernist treatise in which he sought to reframe the meaning of art and the true role of the artist. For many artists of late Imperial Russia – a culture deeply influenced by the regime’s adoption of Byzantine Orthodoxy centuries before – questions of religion and spirituality were of paramount importance. As artists and the wider art community experimented with new ideas and interpretations at the dawn of the twentieth century, their relationship with ‘the spiritual’ – broadly defined – was inextricably linked to their roles as pioneers of modernism. This diverse collection of essays introduces new and stimulating approaches to the ongoing debate as to how Russian artistic modernism engaged with questions of spirituality in the late nineteenth to mid-twentieth centuries. Ten chapters from emerging and established voices offer new perspectives on Kandinsky and other familiar names, such as Kazimir Malevich, Mikhail Larionov, and Natalia Goncharova, and introduce less well-known figures, such as the Georgian artists Ucha Japaridze and Lado Gudiashvili, and the craftswoman and art promoter Aleksandra Pogosskaia. Prefaced by a lively and informative introduction by Louise Hardiman and Nicola Kozicharow that sets these perspectives in their historical and critical context, Modernism and the Spiritual in Russian Art: New Perspectives enriches our understanding of the modernist period and breaks new ground in its re-examination of the role of religion and spirituality in the visual arts in late Imperial Russia. Of interest to historians and enthusiasts of Russian art, culture, and religion, and those of international modernism and the avant-garde, it offers innovative readings of a history only partially explored, revealing uncharted corners and challenging long-held assumptions.
