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Sculptor Nina Slobodinskaya (1898-1984)
1 de 2 SCULPTOR NINA SLOBODINSKAYA (1898-1984). LIFE AND SEARCH OF CREATIVE BOUNDARIES IN THE SOVIET EPOCH Anastasia GNEZDILOVA Dipòsit legal: Gi. 2081-2016 http://hdl.handle.net/10803/334701 http://creativecommons.org/licenses/by/4.0/deed.ca Aquesta obra està subjecta a una llicència Creative Commons Reconeixement Esta obra está bajo una licencia Creative Commons Reconocimiento This work is licensed under a Creative Commons Attribution licence TESI DOCTORAL Sculptor Nina Slobodinskaya (1898 -1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 TESI DOCTORAL Sculptor Nina Slobodinskaya (1898-1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 Programa de doctorat: Ciències humanes I de la cultura Dirigida per: Dra. Maria-Josep Balsach i Peig Memòria presentada per optar al títol de doctora per la Universitat de Girona 1 2 Acknowledgments First of all I would like to thank my scientific tutor Maria-Josep Balsach I Peig, who inspired and encouraged me to work on subject which truly interested me, but I did not dare considering to work on it, although it was most actual, despite all seeming difficulties. Her invaluable support and wise and unfailing guiadance throughthout all work periods were crucial as returned hope and belief in proper forces in moments of despair and finally to bring my study to a conclusion. My research would not be realized without constant sacrifices, enormous patience, encouragement and understanding, moral support, good advices, and faith in me of all my family: my husband Daniel, my parents Andrey and Tamara, my ount Liubov, my children Iaroslav and Maria, my parents-in-law Francesc and Maria –Antonia, and my sister-in-law Silvia. -
Ukrainian Modernism, 1900–1930: a Reappraisal
H-Ukraine Ukrainian Modernism, 1900–1930: A Reappraisal Discussion published by Kristina Conroy on Friday, October 16, 2020 Seminar in Ukrainian Studies | Book Talk | Ukrainian Research Institute, Harvard University Wednesday, November 18, 2020, 12:00pm to 1:30pm Live on YouTube: https://youtu.be/oJ4vm5Jhgxo Panelists: George G. Grabowicz, Myroslava M. Mudrak, and Vita Susak; introduced by Michael S. Flier and moderated by Halyna Hryn View on HURI website A l o o k a t t h e d e v e l o p i n g f i e ld of Ukrainian modernism in the aftermath of a series of publications and conferences beginning in the late 1980s, revisited by the Harvard Ukrainian Research Institute's conference in 2007, and examined anew in the most recent issue of Harvard Ukrainian Studies (Vol. 36, No. 3-4, 2019). Special emphasis is placed on the cultural breakthrough and new avenues of research arising from the conference, including modernism's interface with socialist realism, the interplay of visual art and poetry, the Hylean futurism of David Burliuk, and the artistic legacy of Alexander Archipenko. Citation: Kristina Conroy. Ukrainian Modernism, 1900–1930: A Reappraisal. H-Ukraine. 10-16-2020. https://networks.h-net.org/node/4555727/discussions/6589286/ukrainian-modernism-1900%E2%80%931930-reappraisal Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 1 H-Ukraine Participants George G. Grabowicz, Dmytro Čyževskyj Professor of Ukrainian Literature at Harvard University; founder and editor in chief of the Kyiv-based journal and publishing house Krytyka Grabowicz is the author of several monographs on the works of Taras Shevchenko, most recently Shevchenkovi “Haidamaky” (2013), and collections of articles on the history of Ukrainian literature. -
Shapiro Auctions
Shapiro Auctions RUSSIAN ART AUCTION INCLUDING POSTERS & BOOKS Tuesday - June 15, 2010 RUSSIAN ART AUCTION INCLUDING POSTERS & BOOKS 1: GUBAREV ET AL USD 800 - 1,200 GUBAREV, Petr Kirillovich et al. A collection of 66 lithographs of Russian military insignia and arms, from various works, ca. 1840-1860. Of varying sizes, the majority measuring 432 x 317mm (17 x 12 1/2 in.) 2: GUBAREV ET AL USD 1,000 - 1,500 GUBAREV, Petr Kirillovich et al. A collection of 116 lithographs of Russian military standards, banners, and flags from the 18th to the mid-19th centuries, from various works, ca. 1830-1840. Of varying sizes, the majority measuring 434 x 318mm (17 1/8 x 12 1/2 in.) 3: RUSSIAN CHROMOLITHOGRAPHS, C1870 USD 1,500 - 2,000 A collection of 39 color chromolithographs of Russian military uniforms predominantly of Infantry Divisions and related Artillery Brigades, ca. 1870. Of various sizes, the majority measuring 360 x 550mm (14 1/4 x 21 5/8 in.) 4: PIRATSKII, KONSTANTIN USD 3,500 - 4,500 PIRATSKII, Konstantin. A collection of 64 color chromolithographs by Lemercier after Piratskii from Rossiskie Voiska [The Russian Armies], ca. 1870. Overall: 471 x 340mm (18 1/2 x 13 3/8 in.) 5: GUBAREV ET AL USD 1,200 - 1,500 A collection of 30 lithographs of Russian military uniforms [23 in color], including illustrations by Peter Kirillovich Gubarev et al, ca. 1840-1850. Of varying sizes, the majority measuring 400 x 285mm (15 3/4 x 11 1/4 in.), 6: DURAND, ANDRE USD 2,500 - 3,000 DURAND, André. -
Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town. -
What Is to Be Done? Discussions in Russian Art Theory and Criticism I
WHAT IS TO BE DONE? DISCUSSIONS IN RUSSIAN ART THEORY AND CRITICISM I 6th Graduate Workshop of the RUSSIAN ART & CULTURE GROUP September 20th, 2018 | Jacobs University Bremen Cover: Nikolai Chernyshevsky, Manuscript of his novel “Что делать?” [What Is to be Done?] (detail), 1863; and Ivan Kramskoi, Христос в пустыне [Christ in the Desert] (detail), 1872, Tretyakov Gallery Moscow. WHAT IS TO BE DONE? DISCUSSIONS IN RUSSIAN ART THEORY AND CRITICISM I The sixth graduate workshop of the Russian Art & Culture Group will focus on main tendencies in Russian art theory of the 18th, 19th and early 20th centuries. Therefore, responses to the question What Is to Be Done? (Что делать?) in academic circles as well as by art critics, writers, impresarios, and other members of the Russian intelligentsia shall be explored. 2 | PROGRAM 6th Graduate Workshop of the Russian Art & Culture Group Jacobs University Bremen, Campus Ring 1, 28759 Bremen, Lab 3. PROGRAM THURSDAY, SEPTEMBER 20TH 10.30 Opening: Welcome Address Prof. Dr. Isabel Wünsche, Jacobs University Bremen Panel I: The Academy and Its Opponents Chair: Tanja Malycheva 11.00 Russian Pensionnaires of the Imperial Academy of Arts in Venice in the Second Half of the 18th Century Iana Sokolova, University of Padua 11.30 Escape from the Academy: Why Russian Artists Left St. Petersburg and Moved to Munich at the End of the 19th Century Nadezhda Voronina, Ludwig-Maximilians-Universität, Munich 12.00 A Critic’s Tale by Vladimir Stasov Ludmila Piters-Hofmann, Jacobs University Bremen 12.30 Lunch Break (not included) Panel II: New Approaches and Aesthetic Norms Chair: Ludmila Piters-Hofmann 14.00 The Discussion of the Protection of the Russian Cultural Heritage in Russian Art Journals at the End of the 19th / Beginning of the 20th Century Anna Kharkina, Södertörn University 14.30 Pre-Raphaelites and Peredvizhniki: Pathosformel and Prefiguration in the 20th Century Marina Toropygina, Russian State Institute for Cinematography (VGIK) PROGRAM |3 15.00 “Colors, Colors .. -
Edge of a Pine Forest Signed in Cyrillic and Dated ‘1884’ (Lower Right) Graphite and Charcoal on Paper 32.5 X 46.5 Cm (12¾ X 18¼ In)
Ivan Ivanovich Shishkin (Elabuga 1832 - St. Petersburg 1898) Edge of a Pine Forest signed in Cyrillic and dated ‘1884’ (lower right) graphite and charcoal on paper 32.5 x 46.5 cm (12¾ x 18¼ in) Edge of a Pine Forest is an excellent example of Ivan Ivanovich Shishkin’s later depictions of forests. The naturalistic treatment and glimpses of unfolding vistas are characteristic of his style during the 1880s. Shishkin considered drawing to be an important branch of art. At this time the lines in his drawings are elastic and mobile, sometimes flowing, light and wavy, whilst at other times resilient and strong. He uses black lead in a light, free style but his pencil strokes are more animated and varied. Shishkin used a combination of pencil, charcoal, graphite and white chalk, which allowed him to achieve softer effects and a finer gradation of tone. Over forty years of artistic activity, Shishkin produced hundreds of paintings, numerous studies and drawings, and a large number of engravings. Many of these concerned forests and trees. An oil painting created a few years after the drawing, Forest in Mordvinovo (1891, State Museum and Exhibition Centre ROSIZO, Moscow), illustrates Shishkin’s use of an alternative medium to treat the same subject. Shishkin considered studies to be an integral part of the creative process, based on continual observation and reflection. The resulting level of detail does not detract from the unity of the picture, but contributes to a carefully thought out composition and the harmonious use of light colours. The present drawing was executed by Shishkin specifically for a project to demonstrate the potential of photogravure as a printing method. -
Michel Andreenko and Ukrainian Artists in Paris the Current Permanent Collection Arrival As a Refugee in 1923 Until Exhibition Highlights Twentieth- His Death in 1982
michel andreenko and ukrainian artists in paris The current permanent collection arrival as a refugee in 1923 until exhibition highlights twentieth- his death in 1982. These include century artist Michel [Mychajlo] Alexis Gritchenko [Ukr.: Oleksa Andreenko (1894-1982) and work Hryshchenko] (1883-1977), Sophia by a selection of his contemporary Zarytska [-Omelchenko] (1887 or 1903-1972), Severyn Borachok (1898-1975), Mykola Hlushchenko (1901-1977), Mykola Butovych (1895-1961), Mykhailo Moroz (1902- 1993), Andriy Solohub (1922-2010), Liuboslav Hutsaliuk (1923-2003) and Themostocle Wirsta (1923-2017). Andreenko exhibited with some of these artists repeatedly, others once, or not at all. They were friends, acquaintances, and professional colleagues whose work and lives intersected - through a complicated network of exhibitions, cultural/ national affinity, and professional support, over a long period of extremes. War, displacement from home, loss of possessions, property, and economic security were experiences they shared in common, just Alexis Gritchenko [Oleksa Hryshchenko], as several of these artists were Untitled (A street in Spain) (1934), Oil on born early enough to have lived canvas, 18 x 11.33”, Gift of Mr. Bohdan Kow- through both the first and second alsky World Wars, such as Andreenko, Ukrainian peers, with whom he others only the second. Among crossed paths during his near 60- the older, Gritchenko, Zarytska, year residency in Paris, from his Borachok and Hlushchenko exhibited with Andreenko multiple abstraction. Different styles by the times before World War II, while same artist, are also presented, Butovych and Moroz, only once such as Zarytska’s bending in Lviv in 1931. Solohub, Hutsaliuk erratic abstraction of a figure and Wirsta arrived in the 1950s hung alongside two intimate, and were colleagues and friends. -
Alexis Gritchenko'nun Konstantinopolis Anlatısı
Sanat Tarihi Yıllığı Journal of Art History Sanat Tarihi Yıllığı - Journal of Art History 30, (2021): 1-27 DOI: 10.26650/sty.2021.876268 Araştırma Makalesi / Research Article Bizans Pembesi: Alexis Gritchenko’nun Konstantinopolis Anlatısı Byzantine Pink: Alexis Gritchenko’s Narrative of Constantinople 1 Emir Alışık ÖZ 1919 Kasım'ı ile 1921 Nisan'ı arasını İtilaf kuvvetlerinin işgali altındaki İstanbul'da geçiren Ukraynalı ressam Alexis Gritchenko (Oleksa Hryshchenko), 1923’te Paris’te Constantinople Bleu et Rose (Konstantinopolis Mavi ve Pembe) sergisini açtı ve 1930’da halen yaşadığı Paris’te İstanbul’da tuttuğunu söylediği günlüğünü yayımladı. Günlük’te Bizans Konstantinopolis’ine, onun tarihine, kültürüne, sanatına, mimarisine dair pek çok bilgi verir. Gritchenko’nun aktarımları hem güncel tarihyazımına hem de kişisel gözlemlerine dayanır ve tüm bunları duyusal bir deneyim olarak sunar. Gözlemleriyle beslediği tarih bilgisi, Günlük’te antik, Bizans ve Osmanlı’dan parçalar taşıyan eklektik ve tarihdışı bir Konstantinopolis olarak karşımıza çıkar. Gritchenko, Bizantinizm olarak değerlendirilebilecek eserler üreten modernist bir ressamdır, bu yönüyle çağının bir temsilcisidir; Vladimir Tatlin, Vasily Kandinsky gibi Gritchenko da Bizans sanatı üzerine düşünmüştür. Gritchenko’nun sözlü betimindeki duyusallık ve eklektik tarih algısı İstanbul’da ürettiği resimlerde de gözlenebilir. Özellikle şehrin Bizans surları ve Ayasofya’yı tasvir ettiği eserlerde Bizans ve Osmanlı ögeleri iç içe geçer. Gritchenko’nun Günlük’te kurguladığı Tarihi Yarımada, mekânları, yapıları, insanları ve onların gündelik hayatlarıyla tarihin akışının dışında kalmış, ancak tüm parçaları birbiriyle uyum içinde kurgulanmış fantastik atmosferiyle bir hierotopos’tur. Bu yazıda Günlük’te Bizans tarihi, yapıları ve kültürüne yapılan atıflar saptanmış ve bunlar hem çağdaş hem de Gritchenko’nun erişimi olabilecek yazın çerçevesinde değerlendirilmiştir. -
Abstract Vladimir Makovsky
ABSTRACT VLADIMIR MAKOVSKY: THE POLITICS OF NINETEENTH-CENTURY RUSSIAN REALISM Tessa J. Crist, M.A. School of Art and Design Northern Illinois University, 2015 Barbara Jaffee, Director This thesis examines the political work produced by a little-known Russian Realist, Vladimir Makovsky (1846-1920), while he was a member of the nineteenth-century art collective Peredvizhniki. Increasingly recognized for subtle yet insistent opposition to the tsarist regime and the depiction of class distinctions, the work of the Peredvizhniki was for decades ignored by modernist art history as the result of an influential article, “Avant-Garde and Kitsch,” written by American art critic Clement Greenberg in 1939. In this article, Greenberg suggests the work of Ilya Repin, the most renowned member of the Peredvizhniki, should be regarded not as art, but as “kitsch”--the industrialized mass culture of an urban working class. Even now, scholars who study the Peredvizhniki concern themselves with the social history of the group as a whole, rather than with the merits of specific artworks. Taking a different approach to analyzing the significance of the Peredvizhniki and of Makovsky specifically this thesis harnesses the powerful methodologies devised in the 1970s by art historians T.J. Clark and Michael Fried, two scholars who are largely responsible for reopening the dialogue on the meaning and significance of Realism in the history of modern art. NORTHERN ILLINOIS UNIVERSITY DE KALB, ILLINOIS MAY 2015 VLADIMIR MAKOVSKY: THE POLITICS OF NINETEENTH-CENTURY RUSSIAN REALISM BY TESSA J. CRIST ©2015 Tessa J. Crist A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTERS OF ARTS SCHOOL OF ART AND DESIGN Thesis Director: Barbara Jaffee TABLE OF CONTENTS Page LIST OF FIGURES .................................................................................................... -
The Art of Printing and the Culture of the Art Periodical in Late Imperial Russia (1898-1917)
University of Alberta The Art of Printing and the Culture of the Art Periodical in Late Imperial Russia (1898-1917) by Hanna Chuchvaha A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Modern Languages and Cultural Studies Art and Design ©Hanna Chuchvaha Fall 2012 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. To my father, Anatolii Sviridenok, a devoted Academician for 50 years ABSTRACT This interdisciplinary dissertation explores the World of Art (Mir Iskusstva, 1899- 1904), The Golden Fleece (Zolotoe runo, 1906-1909) and Apollo (Apollon, 1909- 1917), three art periodicals that became symbols of the print revival and Europeanization in late Imperial Russia. Preoccupied with high quality art reproduction and graphic design, these journals were conceived and executed as art objects and examples of fine book craftsmanship, concerned with the physical form and appearance of the periodical as such. Their publication advanced Russian book art and stimulated the development of graphic design, giving it a status comparable to that of painting or sculpture. -
The Pamphlet Files 1
The Pamphlet Files 1 The Pamphlet Files The Pamphlet Files were established as an original resource, part of the Library’s traditional and strong interest in the preservation of ephemera. Some of the material in these files dates back to the late nineteenth century. The Pamphlet Files are often the only record that a gallery or organization existed. They are not catalogued, and there are no references to them in our online catalogue. The files include exhibition brochures, fliers, small exhibition catalogues, gallery announcements, newsletters and other ephemera relating predominately to New York City and state galleries, museums, colleges and universities, professional associations, foundations, non-profit organizations, and other arts organizations. In addition, there are files for one-time arts events and movements, such as “New York State Exposition” and “Art for Peace.” Unless otherwise noted, all files originated from one of the five boroughs of New York City. The list of entries is arranged in alphabetical order; for galleries that have a given name and a surname, i.e. “Martha Jackson Gallery,” the entry will be alphabetized according to the first name. [A] [B] [C] [D] [E] [F] [G] [H] [I] [J] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [U] [V] [W] [X] [Y] [Z] Harriet Burdock Art & Architecture Collection ***Entries arranged by Serena Jimenez Updated and edited by Lauren Stark, 2010 The Pamphlet Files 2 A • A/D • A & M ARTWORKS • AARGAUER KUNSTHAUS • AARON BERMAN GALLERY • AARON FABER GALLERY • AARON FURMAN • ABC NO RIO • ABINGDON SQUARE PAINTERS • ACA GALLERY, 26 W. 8th St. & 52 W. -
1 Life Between Two Panels Soviet Nonconformism in the Cold War Era
Life Between Two Panels Soviet Nonconformism in the Cold War Era DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Clinton J. Buhler, M.A. Graduate Program in History of Art * * * * * The Ohio State University 2013 Dissertation Committee: Dr. Myroslava M. Mudrak, Advisor Dr. Kris Paulsen Dr. Jessie Labov Dr. Aron Vinegar 1 Copyright by Clinton J. Buhler 2013 2 Abstract Beneath the façade of total conformity in the Soviet Union, a dynamic underground community of artists and intellectuals worked in forced isolation. Rejecting the mandates of state-sanctioned Socialist Realist art, these dissident artists pursued diverse creative directions in their private practice. When they attempted to display their work publicly in 1974, the carefully crafted façade of Soviet society cracked, and the West became aware of a politically subversive undercurrent in Soviet cultural life. Responding to the international condemnation of the censorship, Soviet officials allowed and encouraged the emigration of the nonconformist artists to the West. This dissertation analyzes the foundation and growth of the nonconformist artistic movement in the Soviet Union, focusing on a key group of artists who reached artistic maturity in the Brezhnev era and began forging connections in the West. The first two chapters of the dissertation center on works that were, by and large, produced before emigration to the West. In particular, I explore the growing awareness of artists like Oleg Vassiliev of their native artistic heritage, especially the work of Russian avant-garde artists like Kazimir Malevich. I look at how Vassiliev, in a search for an alternative form of expression to the mandated form of art, took up the legacy of nineteenth-century Realism, avant-garde abstraction, and Socialist Realism.