DOCSLIB.ORG

2004/1 (7) 1 Art on the Line

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2004/1 (7) 1 Art on the Line Art on the line A Russian kaleidoscope: shifting visions of the emergence and development of art criticism in the electronic archive Russian Visual Arts, 1800–1913 Carol Adlam Department of Russian, School of Modern Languages, University of Exeter, Queen’s Drive, Exeter EX2 4QH, UK [email protected] Alexey Makhrov Department of Russian, School of Modern Languages, University of Exeter, Queen's Drive, Exeter, EX4 4QH, UK and independent researcher, Switzerland [email protected] 1 Origins notes on major art critics of the period under The project Russian Visual Arts, 1800–1913 consideration, new editorial and translators’ as it appears today at the Humanities notes, and a glossary. The project also pro- Research Institute at the University of Sheffield vides details of on-going research activity in (http://hri.shef.ac.uk/rva*) is the result of three the field: these include the work of various years of AHRB-funded labour (2000–2003) by team members in writing articles, delivering a team of individuals from the Universities of papers and also running a commemorative Exeter and Sheffield, the British Library, and conference at the University of Exeter in the National Library of Russia.1 Russian Visual September 2003 (Art Criticism, 1700–1900: Arts, 1800–1913 is a compendious electronic Emergence, Development, Interchange in archive consisting of four sub-archive areas: a Eastern and Western Europe). textbase of approximately 100 primary texts, in There were several sources of inspiration Russian and in many cases in English transla- for this multi-faceted project. First, it was tion for the first time; a research bibliographic clear that in terms of Anglophone research, database of the 1900+ publications used for the nineteenth-century Russian art had been, project; a timeline designed in order to locate with some notable exceptions, relatively writings on art in the context of political and cul- neglected in favour of work on the mod- tural life as well as events in the art world; and ernism of the early twentieth century.2 Such a collection of several hundred digital images Soviet-era scholarship which did focus on taken from contemporaneous publications, and the nineteenth century, of both Russian and which contributes to the reconstruction of the Western origins, tended to view the period ambience in which the art critical texts existed. through the prism of political affiliation, con- This core material is augmented by an extensive structing a teleological history which scholarly apparatus which includes biographical favoured the social realist work of artists * For the sake of readability full links to the electronic archive Russian Visual Arts, 1800–1913, related to the underlined archive areas within the text, are included in an appendix at the end of this article. ART ON THE LINE 2004/1 (7) 1 ART ON THE LINE post-1863 and in the 1870s onwards.3 Art Historical Herald), Khudozhestvennaia sokro- historical accounts took a similarly selective vishcha Rossii (Art Treasures of Russia), Mir and politically-determined approach to textu- iskusstva (The World of Art), Novyi put´ (The al writings on art: for example, even the com- New Path), Otechestvennye zapiski (Notes of pendious writings of Vladimir Stasov, a the Fatherland), Rech´ (Speech), Severnyi notable critic of the 1860s onwards, are men- vestnik (The Northern Herald), Russkie vedo- tioned sparingly in Anglophone scholarship, mosti (Russian News), Russkii vestnik (The most probably as a result of the Soviet Russian Herald), Slovo (The Word), Vesy authorities’ equally inaccurate representation (Scales), and Zolotoe runo (The Golden of him as laying the ground for their own Fleece). The third source of inspiration came from forms of ‘socialist realism’. Furthermore, a growing awareness of the potential of the while there exist art histories which draw on electronic medium for the creation of projects textual documents as historical evidence, with unprecedented opportunities for texto- there was no work which focused on textual logical comparison, interconnectivity, dis- art criticism itself as the primary object of semination of material, and long-term scrutiny; that is to say, there was no attempt preservation of data. The Humanities to examine the historiography of Russian Research Institute at the University of art.4 What was entirely absent in the Sheffield offered a tremendous opportunity Anglophone world of research into Russian to support the creation of such a project. At art was any systematic or comprehensive the same time the then newly-formed Arts attempt to explore the status and effects of and Humanities Research Board invited the art-critical text in Russian cultural devel- applications to support digital as well as opment, the importance of the art-critical text more traditional forms of scholarship and in the construction of art history, the develop- research. In July 1999 the team was suc- ment of forms of art discourse – all of which cessful in a bid for a large-scale grant from informed the relationship of art criticism to the AHRB: this enabled the project to be both the art world itself and the public. developed over the following three years, The British Library provided further inspi- bringing together the departments of ration for the project, as well as practical Russian at Exeter and of Russian and resources to realise these ideas. For some Slavonic Studies at Sheffield in the first such years before the project the British Library’s inter-institutional collaborative project in the Slavonic section had demonstrated a com- field of Russian and Slavonic studies in the mitment to the arts in Russia in various ways: UK; moreover, this project was unique in through the organisation of public exhibitions uniting the preservational heritage aims of on avant-garde book illustration in the old the British Library with the research aims of museum lobby in the early 1990s, for two higher education institutions. instance, and in the publication of several The project thus had both scholarly and special catalogues of the library’s holdings in research-based aims and objectives. As a this area.5 Further explorations of the library’s scholarly research resource, it was designed holdings in 1997 revealed the existence of a to disseminate little known primary material compendious, rich body of contemporaneous as fully as possible to a wide audience of Russian material on nineteenth-century art specialists and non-specialists potentially which, at the time, was thought to consist of comprising Russianists, cultural historians, over 400 art journals and books, including: art historians, literary specialists, theoreti- Apollon (Apollo), Iskra (The Spark), Iskusstvo cians, and others more broadly concerned i khudozhestvennaia promyshlennost´ (Art with the development of the European arts in and Industry), Istoricheskii vestnik (The the nineteenth and early twentieth centuries. 2 ART ON THE LINE 2004/1 (7) A RUSSIAN KALEIDOSCOPE: ADLAM & MAKHROV The research aims of the project were to Petersburg, which has one of the most com- investigate two broad areas: firstly, the emer- plete holdings of Russian periodicals. More gence of art criticism and art theory as a dis- than 700 documents were obtained from tinct genre in Russia in the early- to mid- these libraries in the form of photocopies; nineteenth century; secondly, to investigate these, together with a selection of books on the ways in which the newly-evolved art crit- Russian art, now form the foundation of a icism related to artistic developments in the hard-copy archive of Russian art criticism late nineteenth and early twentieth centuries. based at Exeter University. The texts repre- The primary purpose of the archive was sented on the project web site are drawn from therefore to make a significant number of this archive and indicate the scope of materi- texts pertaining to Russian art criticism avail- al uncovered by the project. able to scholars and students of Russian cul- While many of these materials have come ture around the world, and to encourage a from numerous original publications located in re-examination of the role which art played in the British Library and the National Library of Russian society in the nineteenth and early Russia, the work of Russian scholars in the twentieth centuries. The web site therefore field has also been a significant source. For includes a selection of texts written between example, one source of primary material for 1814 and 1909 devoted to the Russian visu- the on-line archive has been the anthology al arts, thereby covering the period from the Russkaia progressivnaia khudozhestvennaia emergence of Russian art criticism as a dis- kritika vtoroi poloviny xix-nachala xx veka tinct genre of writing at the beginning of the (Progressive Russian Art Criticism of the nineteenth century, up to the early manifes- Second Half of the Nineteenth Century to the tations of modernism. As discussed at length Start of the Twentieth Century), edited by VV below, a number of essential sources, which Vanslov (Moscow: Izobrazitel'noe iskusstvo are translated into English for the first time, 1977). Russkaia progressivnaia khudozh- highlight the work of major writers on art and estvennaia kritika is an extensive compilation the nature of discussions on contemporary of indispensable source documents written by art in Russia. a range of critics including Ivan Dmitriev and Pavel Kovalevskii in the 1860s, to Vladimir 2 Core materials Stasov, Ivan Kramskoi, Il'ia Repin, Igor' 2.1 The text archive Grabar, Sergei Glagol and Aleksandr Benua in The core element of the website is the on-line the 1870s and beyond, and, bridging the turn archive of primary sources, which in all cases of the twentieth century, a selection of ‘Marxist are published in the most complete versions art critics’ who are, it goes without saying, bet- accessible to the project team. The selection ter known for their writings in fields other than and presentation of texts was a complex sev- art criticism (among them VI Lenin, Georgii eral-stage procedure which consisted of locat- Plekhanov, Maksim Gor'kii).
Load more

Recommended publications
  • International Scholarly Conference the PEREDVIZHNIKI ASSOCIATION of ART EXHIBITIONS. on the 150TH ANNIVERSARY of the FOUNDATION
    International scholarly conference THE PEREDVIZHNIKI ASSOCIATION OF ART EXHIBITIONS. ON THE 150TH ANNIVERSARY OF THE FOUNDATION ABSTRACTS 19th May, Wednesday, morning session Tatyana YUDENKOVA State Tretyakov Gallery; Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts, Moscow Peredvizhniki: Between Creative Freedom and Commercial Benefit The fate of Russian art in the second half of the 19th century was inevitably associated with an outstanding artistic phenomenon that went down in the history of Russian culture under the name of Peredvizhniki movement. As the movement took shape and matured, the Peredvizhniki became undisputed leaders in the development of art. They quickly gained the public’s affection and took an important place in Russia’s cultural life. Russian art is deeply indebted to the Peredvizhniki for discovering new themes and subjects, developing critical genre painting, and for their achievements in psychological portrait painting. The Peredvizhniki changed people’s attitude to Russian national landscape, and made them take a fresh look at the course of Russian history. Their critical insight in contemporary events acquired a completely new quality. Touching on painful and challenging top-of-the agenda issues, they did not forget about eternal values, guessing the existential meaning behind everyday details, and seeing archetypal importance in current-day matters. Their best paintings made up the national art school and in many ways contributed to shaping the national identity. The Peredvizhniki
    [Show full text]
  • 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 ..
    [Show full text]
  • RUS/ART/LIT/SOC/HIS/POL/ECO 381 Russian Studies Seminar
    ART/LIT/SOC/HIS/POL/ECO 381: Russian Studies Seminar Lead Professor: Dr. Marina Rozina Institution: Moscow State University Contact Hours: 40 Overview This is a survey course of Russian society and culture. The course objective is to understand the development of the Russian culture over the 18th, 19th and 20th centuries. Textbook: Hand-outs provided by instructor Credits: 3 Evaluation Methods: 25% each o Class Discussion o Homework Assignments o Museum Assignments o Final Term Paper Topics Covered Each term, the course covers 4 to 5 topics in addition to the Overview of Russian Culture & Society. Sample topic outlines are listed below. Other topics, such as Russian Education System, Multi-faith & Multi-pluralism in Russia and the Russian Army, may also be covered depending on availability of professors and current events. TOPIC 1: Overview of Russian Culture & Society Classroom Instruction o Discuss Syllabus o Introduction to Russian Culture o 18th Century o 19th Century o 20th century, pre-soviet and soviet epoch o New Russia o Influences of each period Cultural Visits & Discussion o Visit to the Museum of the History of Moscow o Discussion of the visit to the Museum of the History of Moscow - 2 - TOPIC 2: Comparative Culture Cultural Visits & Discussion o Trip to Vladimir & Suzdal o Discussion: comparative culture TOPIC 3: Russian Culture through its Arts Classroom Instruction o Russian Culture through its Art: o Icon painting; o 18th century: portrait painting (Ivan Argunov, Fyodor Rokotov, Dmitry Levitzky, and Vladimir Borovikovsky);
    [Show full text]
  • 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.
    [Show full text]
  • Some Highlights of Russian Realism from the Golden Age Awarded an Honorary Professorship by Provincial Cities, Not Just St
    FROM RUSSIA WITH LOVE By Melville Holmes In 1863, the same year that disaffection with the Paris Salon reached such a pitch that Napoleon III felt obliged to mount the Salon des Refusés, concurrent with the offcial Salon, a minor insurrection took place in the Imperial Academy in St. Petersburg, but one that would go down in the annals of Russian culture as a turning point and a milestone in the history of Russian art. A group of art students at the Academy, largely led by Kramskoi, refused to take part in a competition for a gold medal, which included the prize of a scholarship to study abroad, in Paris or Italy. The reason given had to do with certain rules of the contest and wanting the freedom to select one’s own subject matter. This was the frst time the students stood up to the authorities, though the real upshot was rather indefnite. Eight of the rebels would go on to become offcially acknowledged Academicians, including Kramskoi. In fact, the Russian Academy seems largely to have been much more kindly and encouraging to gifted artists Vasili Pukirev (1832-1890) From with fresh ideas than their Parisian The Unequal Marriage 1862 counterparts. oil on canvas 68.5 х 54” One example is Vasili Pukirev (1832- Tretyakov Gallery, Moscow 1890), best known for The Unequal The fgure on the far right is thought to be Pukirev. Marriage. There were lots of scenes of daily, often peasant life (“genre” paintings), being done at the time but they weren’t wandering or traveling infuential critic Vladimir Stasov this representation of a marriage between artists.
    [Show full text]
  • The University of Chicago Kazimir Malevich And
    THE UNIVERSITY OF CHICAGO KAZIMIR MALEVICH AND RUSSIAN MODERNISM A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART HISTORY BY DANIEL KALMAN PHILLIPS CHICAGO, ILLINOIS JUNE 2017 Copyright © 2017 by Daniel Kalman Phillips All rights reserved. TABLE OF CONTENTS LIST OF FIGURES ............................................................................................. iv ACKNOWLEDGEMENTS .............................................................................. viii ABSTRACT ............................................................................................................x INTRODUCTION MALEVICH, ART, AND HISTORY .......................................................................1 CHAPTER ONE MODERNISMS BEFORE SUPREMATISM........................................................18 CHAPTER TWO AN ARTIST OF THE NINETEENTH CENTURY ...............................................71 CHAPTER THREE SUPREMATISM IN 1915 ...................................................................................120 CHAPTER FOUR CODA: SUPREMATISMS AFTER SUPREMATISM .......................................177 WORKS CITED................................................................................................. 211 iii LIST OF FIGURES1 0.1 Kazimir Malevich, Black Square, 1915. 0.2 Kazimir Malevich, [Airplane Flying], 1915. 0.3 John Baldessari, Violent Space Series: Two Stares Making a Point but Blocked by a Plane (for Malevich), 1976. 0.4 Yves Klein,
    [Show full text]
  • Art and Commerce in Late Imperial Russia: the Peredvizhniki, a Partnership of Artists'
    H-SHERA Olsen on Shabanov, 'Art and Commerce in Late Imperial Russia: The Peredvizhniki, a Partnership of Artists' Review published on Monday, April 20, 2020 Andrey Shabanov. Art and Commerce in Late Imperial Russia: The Peredvizhniki, a Partnership of Artists. New York: Bloomsbury Visual Arts, 2019. Illustrations. 280 pp. $108.00 (e-book), ISBN 978-1-5013-3553-2; $120.00 (cloth), ISBN 978-1-5013-3552-5. Reviewed by Trenton Olsen (Ohio State University)Published on H-SHERA (April, 2020) Commissioned by Hanna Chuchvaha (University of Calgary) Printable Version: http://www.h-net.org/reviews/showpdf.php?id=54485 For nearly a century, scholarship regarding the Peredvizhniki misconstrued the group’s true character. Stalinist historians were primarily responsible as they politicized the group, fashioning them as the forefathers of socialist realism. In his introduction, Andrey Shabanov cites the work of two modern scholars who have helped reverse this reading. Pioneering efforts were made by Elizabeth Valkenier in her work Russian Realist Art: The State and Society; The Peredvizhniki and Their Tradition (1977) to wrest the legacy of the group away from its propagandistic historiography, and David Jackson’s more recent monograph, The Wanderers and Critical Realism in Nineteenth- Century Russian Painting (2006), likewise provides fresh understanding of these artists and their work. Despite the revisionary efforts of scholars over the last several decades, Shabanov takes aim at a recurring myth surrounding the Wanderers—namely, to dispel the conceptualization of the Peredvizhniki as a group of realists with a homogenous aesthetic and ideology. He suggests the root of this mischaracterization began with period art criticism offered by figures like Vladimir Stasov, but its pervasiveness has colored most scholarship on the artists to the present.
    [Show full text]
  • Anna Karenina Illustrated
    Anna Karenina Illustrated: Russian and Soviet Illustrated Editions of the Novel, 1878-1982 By Timothy R. Ormond A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Slavic Languages and Literatures University of Toronto © Copyright of Timothy R. Ormond 2013 ABSTRACT Anna Karenina Illustrated: Russian and Soviet Illustrated Editions of the Novel, 1878-1982 PhD 2013 Timothy Richard Ormond Graduate Department of Slavic Languages and Literatures, University of Toronto This dissertation discusses illustrations of Anna Karenina created in Russia and the USSR in the nineteenth and twentieth centuries. It first considers Mikhail Vrubel’s illustration from 1878 and then examines four illustrated editions published in in 1914, 1933, 1953 and 1982. It accomplishes the following: it attends to the lack of attention illustration receives, generally in literary studies, but especially in Russian; it fills in a part of the history of publication practices in Russia and the USSR, as it pertained to illustration; it describes the intended audience for these works; and it offers close readings of the artists’ illustrations, thereby demonstrating the changing reception of Tolstoy’s novel over time. Vrubel’s illustration confronts the treatment of the heroine and marks the beginning of his life-long dislike for Tolstoy. The illustrations of Shcheglov, Korin and Moravov in the 1914 Sytin & Co. edition aided in reading comprehension, suggesting that the intended audience were readers who were new to Tolstoy. Since most of the illustrations were commissioned during the Soviet period, they reveal a great deal about how that regime intervened in the reception of Anna Karenina and its author.
    [Show full text]
  • Ivan Kramskoy: 100+ Russian Paintings [Kindle Edition] by Denise Ankele;Daniel Ankele
    Ivan Kramskoy: 100+ Russian Paintings [Kindle Edition] By Denise Ankele;Daniel Ankele If searched for the ebook Ivan Kramskoy: 100+ Russian Paintings [Kindle Edition] by Denise Ankele;Daniel Ankele in pdf form, then you have come on to the loyal site. We presented utter variant of this book in doc, DjVu, PDF, txt, ePub forms. You may read Ivan Kramskoy: 100+ Russian Paintings [Kindle Edition] online by Denise Ankele;Daniel Ankele either load. Withal, on our site you can read guides and another artistic eBooks online, or downloading them. We like to draw your consideration that our website not store the book itself, but we give reference to the website where you can downloading or reading online. If you have necessity to downloading Ivan Kramskoy: 100+ Russian Paintings [Kindle Edition] pdf by Denise Ankele;Daniel Ankele, then you have come on to the correct site. We have Ivan Kramskoy: 100+ Russian Paintings [Kindle Edition] doc, PDF, ePub, txt, DjVu formats. We will be glad if you go back more. portrait of an unknown woman - wikipedia, the free - Portrait of an Unknown Woman (Russian: or Neizvestnaya) is a painting by the Russian artist Ivan Kramskoi, executed in 1883. russian paintings gallery - kramskoy ivan - He was artist-painter, master of a historical, fantastic picture, theorist of art, art critic, teacher, representative of critical realism. Ivan Nikolayevich Kramskoy 116 color paintings of vasily tropinin - russian - May 16, 1857) - Kindle edition by Jacek Michalak note taking and highlighting while reading 116 Color Paintings of Vasily Tropinin - Russian Romantic ivan kramskoy - artist, fine art prices, auction - Ivan Nikolaevich Kramskoy was active/lived in Russian Federation.
    [Show full text]
  • Turgenev and the Question of the Russian Artist
    UNIVERSITY OF CAMBRIDGE, SIDNEY SUSSEX COLLEGE TURGENEV AND THE QUESTION OF THE RUSSIAN ARTIST Luis Sundkvist Submitted for the degree of Doctor of Philosophy March 2010 Under the supervision of Dr Diane Oenning Thompson Luis Sundkvist “Turgenev and the Question of the Russian Artist” Summary: This thesis is concerned with the thoughts of the Russian writer Ivan Turgenev (1818-83) on the development of the arts in his native country and the specific problems facing the Russian artist. It starts by considering the state of the creative arts in Russia in the early nineteenth century and suggests why even towards the end of his life Turgenev still had some misgivings as to whether painting and music had become a real necessity for Russian society in the same way that literature clearly had. A re-appraisal of On the Eve (1860) then follows, indicating how the young sculptor Shubin in this novel acts as the author’s alter ego in a number of respects, in particular by reflecting Turgenev’s views on heroism and tragedy. The change in Shubin’s attitude towards Insarov, whom the sculptor at first tries to belittle before eventually comparing him to the noble Brutus in Shakespeare’s Julius Caesar, can be said to anticipate Turgenev’s own feelings about Bazarov in Fathers and Children (1862) and the way that this ‘nihilist’ attained the stature of a true tragic hero. In this chapter, too, the clichéd notion of Turgenev’s alleged affinity with Schopenhauer is firmly challenged—an issue that is taken up again later on in the discussion of Phantoms (1864) and Enough! (1865).
    [Show full text]
  • Fallen Womanhood and Modernity in Ivan Kramskoi's Unknown Woman (1883)
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2014-07-03 Fallen Womanhood and Modernity in Ivan Kramskoi's Unknown Woman (1883) Trenton B. Olsen Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Olsen, Trenton B., "Fallen Womanhood and Modernity in Ivan Kramskoi's Unknown Woman (1883)" (2014). Theses and Dissertations. 4198. https://scholarsarchive.byu.edu/etd/4198 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Fallen Womanhood and Modernity in Ivan Kramskoi’s Unknown Woman (1883) Trenton B. Olsen A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Heather Belnap Jensen, Chair Martha M. Peacock Mark Purves Department of Visual Arts Brigham Young University June 2014 Copyright © 2014 Trenton B. Olsen All rights reserved ABSTRACT Fallen Womanhood and Modernity in Ivan Kramskoi’s Unknown Woman (1883) Trenton B. Olsen Department of Visual Arts, BYU Master of Arts My thesis investigates Ivan Kramskoi’s well-known work Unknown Woman (1883). In reviewing the criticism concerning Unknown Woman written in the wake of the eleventh peredvizhniki exhibition in which it was first shown, Kramskoi’s painting attracted praise, perplexity, and condemnation. One of the major interpretations (though not commonly discussed) was that this work was meant to allude to female sexuality or prostitution in Russian society.
    [Show full text]
  • Modernism and the Spiritual in Russian Art New Perspectives
    Modernism and the Spiritual in Russian Art New Perspectives EDITED BY LOUISE HARDIMAN AND NICOLA KOZICHAROW To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/609 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Modernism and the Spiritual in Russian Art New Perspectives Edited by Louise Hardiman and Nicola Kozicharow https://www.openbookpublishers.com © 2017 Louise Hardiman and Nicola Kozicharow. Copyright of each chapter is maintained by the author. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Louise Hardiman and Nicola Kozicharow, Modernism and the Spiritual in Russian Art: New Perspectives. Cambridge, UK: Open Book Publishers, 2017, https://doi.org/10.11647/OBP.0115 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/609#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/609#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
    [Show full text]