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Elena Polenova, Mariia Iakunchikova and the Emergence of Modern Art in Russia

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Elena Polenova, Mariia Iakunchikova and the Emergence of Modern Art in Russia THE PHANTOM OF INSPIRATION: ELENA POLENOVA, MARIIA IAKUNCHIKOVA AND THE EMERGENCE OF MODERN ART IN RUSSIA by Kristen M. Harkness BA, Purdue University, 1991 MA, University of Pittsburgh, 1996 MA, University of Pittsburgh, 2003 Submitted to the Graduate Faculty of The School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2009 UNIVERSITY OF PITTSBURGH THE SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Kristen M. Harkness It was defended on April 8, 2009 and approved by Dr. Helena Goscilo, Professor, Slavic Languages and Literatures Dr. Kirk Savage, Associate Professor, History of Art and Architecture Dr. H. Anne Weis, Associate Professor, History of Art and Architecture Dissertation Advisor: Dr. Barbara McCloskey, Associate Professor, History of Art and Architecture ii Copyright © by Kristen M. Harkness 2009 iii THE PHANTOM OF INSPIRATION: ELENA POLENOVA, MARIIA IAKUNCHIKOVA AND THE EMERGENCE OF MODERN ART IN RUSSIA Kristen M. Harkness, PhD University of Pittsburgh, 2009 This dissertation provides an examination of the lives and works of two Russian artists: Elena Dmitrievna Polenova (1850-1898) and Mariia Vasil’evna Iakunchikova (1870-1902). It takes a biographical approach to elucidate how Polenova and Iakunchikova negotiated the constraints imposed by their gender and the rapid changes occurring in Russia’s social structure in their search for a modern Russian art. The dissertation begins with an investigation of Polenova’s activities in the spheres of social activism and art in the 1870s and concludes with both women’s contributions to the Russian handicrafts (kustar) pavilion at the 1900 Paris Exposition Universelle. While Polenova’s contributions to the Russian kustar revival have been the subject of scholarly research, her activities in the broader art world have not. This dissertation seeks to remedy the skewed vision of Polenova’s artistic output that has been a result. In addition, her close friendship and artistic synergy with Iakunchikova has been neglected. Iakunchikova is virtually unknown outside a small group of Russian-art specialists. Thus, an investigation of both women’s work together provides a more rounded history of their contribution to Russian artists’ search for a modern, yet uniquely Russian, art at the end of the nineteenth century. iv TABLE OF CONTENTS PREFACE............................................................................................................................VIII INTRODUCTION ....................................................................................................................1 1.0 ART AND SOCIAL WORK: “THE HEALTHIEST AND MOST FORTIFYING FOOD” ....................................................................................................................................16 1.1 ETHNOGRAPHY, ARCHAEOLOGY AND IDENTITY....................................16 1.2 SOCIAL WORK AND SOCIAL STRICTURES..................................................21 1.3 ART AND THE “FEMALE ESTATE”.................................................................30 1.4 POLENOVA SHAPES HER STYLE AND CAREER .........................................46 2.0 MOSCOW, ABRAMTSEVO AND A NEW GENERATION OF RUSSIAN ARTISTS 52 2.1 MERCHANT MOSCOW AND RUSSIAN IDENTITY .......................................53 2.2 POLENOVA’S INTRODUCTION TO THE MOSCOW ART WORLD............58 2.3 THE PROBLEM OF COMMISSIONS.................................................................68 2.4 ALONE IN MOSCOW ..........................................................................................71 2.5 THE POLENOV CIRCLE EMERGES ................................................................78 2.6 THE FORMATION OF THE ABRAMTSEVO WORKSHOP ...........................82 2.7 IAKUNCHIKOVA JOINS THE POLENOV CIRCLE........................................93 2.8 POLENOVA IN 1886: SUCCESS, GRIEF AND REVELATION .......................98 v 2.9 NEW MEDIA, NEW OPPORTUNITIES ...........................................................104 2.10 THE PHANTOM MAKES HIS APPEARANCE .............................................113 2.11 IAKUNCHIKOVA’S TRAVEL ADVENTURES AND THE POWER OF OBSERVATION...........................................................................................................118 2.12 FORAYS INTO THE FAIRY TALE WORLD AND CONTINUED SUCCESS AT ABRAMTSEVO .....................................................................................................127 3.0 INTO THE ARTISTIC WHIRLWIND.......................................................................135 3.1 IAKUNCHIKOVA GOES WEST .......................................................................138 3.2 POLENOVA GOES NORTH..............................................................................146 3.3 THE 1889 EXPOSITION UNIVERSELLE ........................................................155 3.4 IAKUNCHIKOVA ENTERS THE PARISIAN ART WORLD.........................158 3.5 POLENOVA FORGES NEW PATHS IN MOSCOW .......................................169 3.6 THE DECLINE AND FALL OF THE PEREDVIZHNIKI IN THE EYES OF THE YOUNGER GENERATION ...............................................................................174 3.7 IAKUNCHIKOVA: DECADENCE AND INDEPENDENCE ...........................184 3.8 POLENOVA, RUSSIAN ART AND VLADMIR VASIL’IEVICH STASOV ...197 3.9 IAKUNCHIKOVA AND WOMEN’S ART ........................................................214 3.10 MORE STRUGGLES IN THE MOSCOW ART WORLD..............................217 3.11 POLENOVA GOES ABROAD..........................................................................222 3.12 CONTINUED STRUGGLES WITH THE PHANTOM AND FURTHER EXPLORATIONS OF EUROPEAN MODERNISM..................................................227 4.0 ENDINGS AND BEGINNINGS ..................................................................................234 4.1 STASOV AND POLENOVA: AN ENDING.......................................................238 vi 4.2 THE 1896 NIZHNII NOVGOROD FAIR: DRESS REHERSAL......................248 4.3 POLENOVA AND IAKUNCHIKOVA: ENDINGS AND BEGINNINGS ........253 4.4 THE RUSSIAN HANDICRAFTS PAVILION: AN END AND A BEGINNING 263 5.0 CONCLUSION ............................................................................................................280 APPENDIX A........................................................................................................................285 APPENDIX B........................................................................................................................289 APPENDIX C........................................................................................................................291 BIBLIOGRAPHY.................................................................................................................294 vii PREFACE I have employed the Library of Congress transliteration system without diacritics except for words and names that have accepted spellings in English, e.g., Peter the Great, Nicholas II, Tretyakov. There are many people who have my eternal gratitude for their assistance in completing this dissertation. Dr. Barbara McCloskey, my dissertation advisor, provided sage counsel and deft editing at all stages of the process from its inception to the very end. My committee members, Dr. Helena Goscilo, Dr. Kirk Savage, and Dr. Anne Weis, all shared their varying perspectives and expertise in ways that only strengthened the text. The Fulbright Program provided me with the funding necessary to spend an academic year in Russia researching this topic. Without their generosity to young scholars this project would not have come to fruition. I am also indebted to the staff of the Tretyakov Gallery Manuscript Division, the State Russian Museum Manuscript Division, the Archives Center of the Smithsonian National Museum of American History, the Russian State Library (Moscow), Russian National Library (St. Petersburg), the Library of Congress, the Frick Fine Arts Library (University of Pittsburgh) and the Interlibrary Loan Services of Hillman Library (University of Pittsburgh). Special thanks go to the following for helping me track down the elusive Miss Netta Peacock: Richard Davies of the Leeds Russian Archive (University of Leeds), Richard Loveday of the Victoria and Albert viii Museum, and Stephanie Clark of the British Museum. In addition, Matthew Percival of The Courtauld Institute of Art helped clarify references to the presence of Mariia Vasil’evna Iakunchikova’s prints in British collections. For their generosity in sharing their time and knowledge, I am thankful to Irène and Mariel Weber (Mariia Vasil’evna Iakunchikova’s granddaughters) and Alexandre Liapine (Elena Dmitrievna Polenova’s great-nephew). Dr. Mikhail Kiselev shared his knowledge of Iakunchikova’s involvement in the women’s exhibition. Dr. Wendy Salmond provided support and advice regarding Polenova’s activities at Abramtsevo. Dr. Joseph Bradley was kind enough to share his manuscript article about the 1872 Polytechnic Exhibition in Moscow. In addition, I thank Dr. Dennis Stull for allowing me to pepper him with questions about Polenova’s fatal injury. Finally, I wish to extend my thanks to family and friends who saw me through this long journey. Thank you for your unceasing support. ix INTRODUCTION Elena Dmitrievna Polenova (1850-1898) and Mariia Vasil’evna Iakunchikova (1870- 1902) played important roles in the redefinition of Russian art that occurred in the second half of the nineteenth
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