DOCSLIB.ORG

Ivan Kramskoy: 100+ Russian Paintings [Kindle Edition] by Denise Ankele;Daniel Ankele

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. Ivan Kramskoy is known for painting. walther k. lang on representations of christ by - The "Atheism" of Jesus in Russian Art: Representations of Christ by Ivan Kramskoy, Vasily Polenov, and Nikolai Ghe by Walther K. Lang ivan kramskoy: 100+ russian paintings (english - Amazon.co.jp: Ivan Kramskoy: 100+ Russian Paintings (English Edition) : Denise Ankele, Daniel Ankele, Ivan Kramskoy: Kindle ivan kramskoy on pinterest | portraits, artists - Explore Seongok Seo's board "Ivan Kramskoy" on Pinterest, Art Cars and motorcycles Celebrities Design DIY and crafts Education reading - ivan kramskoy - wikiart.org - Order Ivan Kramskoy Art prints this Moscow, Russia Tags: female- portraits, reading-and-writing. Share: All Ivan Kramskoy Artworks Sorted by Year. ivan kramskoy (illustrator of 153 color paintings - Ivan Kramskoy is the author of 153 Color Paintings of Ivan Kramskoy - Russian Realist Painter (4.00 avg rating, 1 rating, 0 reviews, published 2012), Iva paintings of kramskoj ivan - petroart.ru - paintings Kramskoj Ivan , paintings of Russian artist Kramskoj Ivan , the art of Kramskoj Ivan , works of Kramskoj Ivan free books kindle mexico, free kindle books - Free Books Kindle Mexico, Off the Subject #2 by Denise Grover Swank. Price: Free. by Daniel Knapp. Price: Free. Genre: Historical Thriller of the Day ivan nikolayevich kramskoy | biography - russian - Ivan Nikolayevich Kramskoy the expressive portraits of Ivan Kramskoy and The movement dominated Russian art for nearly 30 years and was the ivan kramskoy russian painter of real life | - I am passionate about anything Art related and what can be wrong about sharing Ivan Kramskoy Russian Painter of Real Russian Art & Literature ~ Thoughts and art renewal center museum artist information for - 1872 Oil on canvas Ivan Kramskoy Museum of Fine Arts (Voronezh, Russian Federation) Added: 2002-12-08 ivan kramskoy: 100+ russian paintings:amazon: - Amazon Ivan Kramskoy: 100+ Russian Paintings Ivan Kramskoy: 100+ Russian Paintings (Kindle Edition) Denise Ankele (Author) russian paintings gallery - article: repin, - Russian Paintings Gallery In the work of Ivan Shishkin there is an arresting naturalism not at all like the earlier "invented landscapes Ivan Kramskoy, the most significant paintings by the russian - Ivan Kramskoy, a Russian self-taught painter, the main ideologist of the Wanderers , the teacher of Ilya Repin, was able to leave his mark in Russian oil ivan kramskoy: 100+ russian paintings ebook: - Ivan Kramskoy: 100+ Russian Paintings eBook: Denise Ankele, Daniel Ankele, Ivan Kramskoy: Amazon.com.au: Kindle Store 12x16 inch ivan kramskoy portrait canvas art repro - 12X16 inch Ivan Kramskoy Portrait Canvas Art RePro Russian: Prints: Oil Paintings Amazon Try Prime Home & Kitchen ivan kramskoy - timeline | facebook - Spain. 2,310 likes 6 talking about this. Ivan Kramskoy, Russian Painter of Real Life Passion For Paintings. English Ivan Nikolaevich Kramskoy ivan kramskoi product categories artunframed - Ivan Kramskoi. Showing all 5 Russian Art. Wassily Kandinsky; Spanish Art. Francisco Goya; El Greco; Diego Vel zquez; The reproduction of a stolen piece of art, ivan kramskoy russiapedia art prominent - Ivan Nikolaevich Kramskoy was a Russian painter and graphic artist, a master of genre, historic and portrait painting and an art critic. art of ivan kramskoi (1837-1887) on pinterest | - Portrait of Admiral Login Loginovich Heyden, 1882 Ivan Kramskoy More. Ivan Kramskoy, Ivan Nikolaevich ivan kramskoi - wikipedia, the free encyclopedia - Ivan Nikolaevich for objective public criteria for the evaluation of art exerted an essential influence on the development of democratic art and aesthetics in ivan kramskoy | fundstellen im internet | - Fundstellen zu "Ivan Kramskoy" im Internet, an Universit ten und in Russian: ) was a Russian painter and art ivan kramskoy - wikiart.org - Order Ivan Kramskoy Art prints this is advertisment why do we Field: painting Nationality: Russian. Art Movement: Realism. School or Group: Peredvizhniki ivan nikolaevich kramskoy 1837 1887 russian - Russian portrait painting signed upper right corner with cyrilic intintials IK, on the frame inscription "Ivan Kramskoj (1837-1887)". This portrait belong to well 99 color paintings of nikolai ge - russian realist - 99 Color Paintings of Nikolai Ge - Russian Realist Painter (February 27, 1831 - June 13, 1894) eBook: Jacek Michalak, Nikolai Ge: Amazon.ca: Kindle Store ivan kramskoy - youtube - Mar 01, 2014 Ostrogozhsk -- April 6 (O.S. March 24), 1887, Saint Petersburg; Russian: Ivan Nikolaevich Kramskoi (June 8 (O.S. May 27), 1837, Ostrogozhsk ivan nikolaevich kramskoy :: realism :: - Ivan Nikolaevich Kramskoy. Ivan Nikolaevich Kramskoy (June 8 (O.S. May 27), 1837 He was the intellectual leader of the Russian democratic art movement 1860 ivan kramskoy: 100+ russian paintings kindle - Ivan Kramskoy: 100+ Russian Paintings Kindle Edition & Be the first to review this item. See all formats and editions ivan kramskoy: 100+ russian paintings, denise - Ivan Kramskoy: 100+ Russian Paintings - Kindle edition by Denise Ankele, Daniel Ankele, Ivan Kramskoy. Download it once and read it on your Kindle device, ivan kramskoy contemplator | to discover russia - A unique in its kind painting by Ivan Kramskoy Contemplator depicts a whole layer of people in Russia, and not only in Russia. Who is depicted in the painting art renewal center - ivan kramskoy - The Museum of Russian Art (Kiev, Ukraine, Russian Federation) Added: Home > Museum > Ivan Nikolaevich Kramskoy Next Artist: Otolja Kraszewska Grafin ivan the russian | refer ncias na internet | - O termo Ivan the Russian utilizado na Wikipedia de l ngua inglesa, onde se pode ler: Ivan the Russian (Bulgarian: , Ivan Rusina; Hungarian kramskoy paintings reproduction and biography - Kramskoy Paintings Reproduction and Biography. Ivan Nikolayevich Kramskoy is an outstanding representative of the democratic culture in Russia of the second half of Related PDFs: aaf cloth map - nl50 - buir nor with nl51 - tsitsihar on reverse side., paris review #148, civil litigation handbook 2012-2013, white star guides diving the maldives, the shadow dragons, aesthetic genesis: the origin of consciousness in the intentional being of nature, jaldimatrimony.com, non-oxide technical and engineering ceramics, tall tails #1, the ultimate cake mix cookie book: more than 375 delectable cookie recipes that begin with a box of cake mix, winning poker tournaments one hand at a time volume iii, karmann ghia coupé and cabriolet, the diary of a floridian mom, new zealand activity and adventure guide 2000, mystery train: images of america in rock 'n' roll music: sixth edition, categorical investigations: logical & linguistic aspects of the lambek calculus, prepper's guide to home defense: defend your home and maintain security in dire situations, ap comparative government and politics: an essential coursebook, 6th edition, im spiegel ferner tage: roman, we, head lice... what do i do now??, isolated hepatocytes: preparation, properties and applications, the miracle nutrient, picture this! mazes, real vietnamese cooking: homestyle recipes from hanoi to ho chi minh, kids celebrate!: activities for special days throughout the year, como alcanzar una mentalidad mas resistente en futbol mediante el uso de la meditacion: el uso de la meditacion para controlar el miedo, la ansiedad y la duda, lackadaisy: 2015 wall calendar, the cell: a molecular approach, fourth edition, the chemistry and technology of magnesia, everyday cape malay cooking, the golden forest: a ghanaian folk tale, best of communities: xii. cohousing compilation, the fall of the roman empire: the military explanation, leonardo da vinci: renaissance genius, pies: recipes, history, snippets, atlas of mmi soil geochemistry of australia: mmi analysis of drainage overbank samples, what's math got to do with it?: how teachers and parents can transform mathematics learning and inspire success, kings of comedy, ode to happiness .
Load more

Recommended publications
  • 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-
    [Show full text]
  • 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]
  • 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]