NUMBER 53 Notes on Entrepreneurship in Russia and the "Russification" of Foreign Enterprise
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The German Century? How a Geopolitical Approach Could Transform the History of Modernism Catherine Dossin, Béatrice Joyeux-Prunel
The German Century? How a Geopolitical Approach Could Transform The History of Modernism Catherine Dossin, Béatrice Joyeux-Prunel To cite this version: Catherine Dossin, Béatrice Joyeux-Prunel. The German Century? How a Geopolitical Approach Could Transform The History of Modernism. Circulations in the Global History of Art, Ashgate / Routledge, 2015, 9781472454560. hal-01479061 HAL Id: hal-01479061 https://hal.archives-ouvertes.fr/hal-01479061 Submitted on 12 Feb 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Copyright Warning : this document is proposed at its state before publication. I encourage you to use the version published by Ashgate, which includes definitive maps and graphs, and in a revised version. The German Century: How a Geopolitical Approach Could Transform the History of Modernism Catherine Dossin and Béatrice Joyeux-Prunel Writing a global history of art is one of the highest challenges faced by the specialists of modernism, but not their favorite orientation.1 When writing a global history of modern and contemporary art, the trend seems to be directed towards adding chapters dedicated to non-Western regions.2 Yet, those added chapters do not fundamentally alter the main narrative. -
Information to Users
Alfred Stieglitz and the opponents of Photo-Secessionism Item Type text; Thesis-Reproduction (electronic) Authors Zimlich, Leon Edwin, Jr., 1955- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 21:07:09 Link to Item http://hdl.handle.net/10150/291519 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
Dutch and Flemish Art in Russia
Dutch & Flemish art in Russia Dutch and Flemish art in Russia CODART & Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie) Amsterdam Editors: LIA GORTER, Foundation for Cultural Inventory GARY SCHWARTZ, CODART BERNARD VERMET, Foundation for Cultural Inventory Editorial organization: MARIJCKE VAN DONGEN-MATHLENER, Foundation for Cultural Inventory WIETSKE DONKERSLOOT, CODART English-language editing: JENNIFER KILIAN KATHY KIST This publication proceeds from the CODART TWEE congress in Amsterdam, 14-16 March 1999, organized by CODART, the international council for curators of Dutch and Flemish art, in cooperation with the Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie). The contents of this volume are available for quotation for appropriate purposes, with acknowledgment of author and source. © 2005 CODART & Foundation for Cultural Inventory Contents 7 Introduction EGBERT HAVERKAMP-BEGEMANN 10 Late 19th-century private collections in Moscow and their fate between 1918 and 1924 MARINA SENENKO 42 Prince Paul Viazemsky and his Gothic Hall XENIA EGOROVA 56 Dutch and Flemish old master drawings in the Hermitage: a brief history of the collection ALEXEI LARIONOV 82 The perception of Rembrandt and his work in Russia IRINA SOKOLOVA 112 Dutch and Flemish paintings in Russian provincial museums: history and highlights VADIM SADKOV 120 Russian collections of Dutch and Flemish art in art history in the west RUDI EKKART 128 Epilogue 129 Bibliography of Russian collection catalogues of Dutch and Flemish art MARIJCKE VAN DONGEN-MATHLENER & BERNARD VERMET Introduction EGBERT HAVERKAMP-BEGEMANN CODART brings together museum curators from different institutions with different experiences and different interests. The organisation aims to foster discussions and an exchange of information and ideas, so that professional colleagues have an opportunity to learn from each other, an opportunity they often lack. -
Elias Goldensky: Wizard of Photography' Gary D
Elias Goldensky: Wizard of Photography' Gary D. Saretzky Who would not, out of sheer vanity, like to have himself photographed by ... Elias Goldensky ... ? Sidney Allan [Sadakichi Hartmann], 1904 In June 1924, Elias Goldensky (1867-1943) traveled from his Philadel- phia studio to demonstrate his portrait photography technique at the Con- vention of the Ontario Society of Photographers in Toronto. To encourage attendance, the Society printed a publicity card with Goldenskys portrait. The text on the back reflects the esteem with which Goldensky was held by his professional colleagues: Mr. Elias Goldensky, the Wizard of Photography, is coming from Philadelphia to demonstrate at our convention .... He has dem- onstrated at Conventions perhaps more than any other living pho- tographer. He is a most interesting lecturer and has the great gift of being a natural teacher; he can, and will, solve your many light- ing problems. He will show how to so balance a lighting that he can light four subjects at opposite corners at one time, clever as this may be in its practical way; he will also demonstrate how to make pictorial work. He is an acknowledged artist, in addition to. his practical craftsmanship. Three Big Performances from the brain of this marvelous workman. You owe it to yourself to see and hear him. .2 The wizard did not disappoint his audience. As reported by the Toronto Star Weekly on June 28 under the headline, "King of the Camera Works Like Greased Lightning," Goldensky, described as "one of the six best in the coun- try," took 400 portraits in 55 minutes while keeping up an amusing running commentary: "Good morning, madam," he began, "in the ma-ter of portraits we have two sizes, one at six photos for twenty dollars, one at six for forty. -
The Alterity of the Readymade: Fountain and Displaced Artists in Wartime
THE ENDURING IMPACT OF THE FIRST WORLD WAR A collection of perspectives Edited by Gail Romano and Kingsley Baird The Alterity of the Readymade: Fountain and Displaced Artists in Wartime Marcus Moore Massey University Abstract In April 1917, a porcelain urinal titled Fountain was submitted by Marcel Duchamp (or by his female friend, Louise Norton) under the pseudonym ‘R. MUTT’, to the Society of Independent Artists in New York. The Society’s committee refused to show it in their annual exhibition of some 2,125 works held at the Grand Central Palace. Eighty-seven years later, in 2004, Fountain was voted the most influential work of art in the 20th century by a panel of world experts. We inherit the 1917 work not because the original object survived—it was thrown out into the rubbish—but through a photographic image that Alfred Steiglitz was commissioned to take. In this photo, Marsden Hartley’s The Warriors, painted in 1913 in Berlin, also appears, enlisted as the backdrop for the piece of American hardware Duchamp selected from a plumbing showroom. To highlight the era of the Great War and its effects of displacement on individuals, this article considers each subject in turn: Marcel Duchamp’s departure from Paris and arrival in New York in 1915, and Marsden Hartley’s return to New York in 1915 after two years immersing himself in the gay subculture in pre-war Berlin. As much as describe the artists’ experiences of wartime, explain the origin of the readymade and reconstruct the events of the notorious example, Fountain, the aim of this article is to additionally bring to the fore the alterity of the other item imported ready-made in the photographic construction—the painting The Warriors. -
Sa-Scg Last Updated 4 June 2016
AHSGR American Historical Society of Germans From Russia Germanic Origins Project Legend: BV=a German village near the Black Sea . FN= German family name. FSL= First Settlers’ List. GL= a locality in the Germanies. GS= one of the German states. ML= Marriage List. RN= the name of a researcher who has verified one or more German origins. UC= unconfirmed. VV= a German Volga village. A word in bold indicates there is another entry regarding that word or phrase. Click on the bold word or phrase to go to that other entry. Red text calls attention to information for which verification is completed or well underway. Push the back button on your browser to return to the Germanic Origins Project home page. Sa-Scg last updated 4 June 2016 Saal near Kelheim: was in Kurbayern and is 19.5 km SW of Regensburg city centre. SaalburgGL: an unidentified place said by the Neidermonjou FSL to be homeUC to a Jung109, and perhaps to a Miemer family. Kuhlberg said this was in Nassau. I can find no such place on Nassau lands. The only Saalburg I can find is 19 miles SE of Saalfeld city, then in Reuss-Schleiz County. SaalburgGL, [Reuss-Schleiz County]: said by the Shcherbakovka FSL to be homeUC to the Wohlhauer family. Saalendorf, [Upper Lusatia, Kursachsen]: is 10 km WSW of Zitau city and was said by Recruiter Beauregard’s list to have been homeUC to the Schmidt{Jacob} family (Lk2). Saalfeld{Carl Gottlieb Conrad/Karl}: this son of a school teacher in Giessen on 1 April 1766 in Buedingen married Schierart{Eliesabetha}from Offenbach (Mai&Marquardt#465). -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
This page intentionally left blank This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 by Dorothy W. Phillips Curator of Collections The Corcoran Gallery of Art, Washington D.G. 1973 Library of Congress Catalogue Card Number N 850. A 617 Designed by Graham Johnson/Lund Humphries Printed in Great Britain by Lund Humphries Contents Foreword by Roy Slade, Director vi Introduction by Hermann Warner Williams, Jr., Director Emeritus vii Acknowledgments ix Notes on the Catalogue x Catalogue i Index of titles and artists 199 This page intentionally left blank Foreword As Director of the Corcoran Gallery of Art, I am pleased that Volume II of the Catalogue of the American Paintings in the Corcoran Gallery of Art, which has been in preparation for some five years, has come to fruition in my tenure. The second volume deals with the paintings of artists born between 1850 and 1910. The documented catalogue of the Corcoran's American paintings carries forward the project, initiated by former Director Hermann Warner Williams, Jr., of providing a series of defini• tive publications of the Gallery's considerable collection of American art. The Gallery intends to continue with other volumes devoted to contemporary American painting, sculpture, drawings, watercolors and prints. In recent years the growing interest in and concern for American paint• ing has become apparent. -
Christian Joschke Ernst Juhl and Alfred Stieglitz: the Friendship That Never Was
Christian Joschke Ernst Juhl and Alfred Stieglitz: The Friendship That Never Was Lecture on November 22, 2013 on the occasion of the symposium “Inspirations – Interactions: Pictorialism Reconsidered” Ill. 1 In what seems to be Alfred Stieglitz’s last letter to Ernst Juhl, sent January 6, 1911, the author responds with faint gratitude and true irritation.1 (Ill. 1 Letter) In a previous letter, Juhl had sent the catalogue from the exhibition of his private collection of pictorial photography, 1 Letter from Alfred Stieglitz to Ernst Juhl, January 6, 1911. Yale University, Beinecke Rare Books Library. All translations are by the author, unless otherwise noted. shown at the Kunstgewerbe Museum Berlin from May 8 until June 30, 1910.2 (Ill. 2 Cat. 1910) At the same time, Stieglitz had presented his own collection at the Albright Art Gallery in Buffalo; it was the biggest and most famous exhibition of art photography in the US before World War I, after which the gallery decided to buy twelve photographs from his collection and to open a section for art photography. 3 (Ill. 3 Expo. Albright) With a competitive edge to his words, Stieglitz’s letter compared the two events in Berlin and Buffalo, underlining the quality of his own collection and recalling his memories about his accomplishments in the field of art photography. Thus, after nearly 25 years of work in the field of photography, Stieglitz and Juhl reminisced over their past battles. Ill. 2 Ill. 3 In recounting the history of art photography, Juhl’s catalogue did not stress the role of Stieglitz more than others, such as Hugo Henneberg, Heinrich Kühn, or the brothers Theodor and Oscar Hofmeister. -
The Russian Railways and Imperial Intersections in the Russian Empire Karl E. M. Starns a Thesis Submitted in Partial Fulfillmen
The Russian Railways and Imperial Intersections in the Russian Empire Karl E. M. Starns A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in International Studies (Russia, East Europe, and Central Asia) University of Washington 2012 Committee: Professor Elena Campbell Professor Glennys Young Professor Yong-Chool Ha Program Authorized to Offer Degree: Jackson School of International Studies TABLE OF CONTENTS Introduction …………………………………………………………………………………… 1 Chapter 1: Empire, Imperialism, Imperial Trajectories, and Empire in Russia …………………………. 12 Chapter 2: Early Transportation in the Russian Empire, the Beginnings of the Railroads, Railroads and, Industrialization ……………………………………………………………………………… 27 Chapter 3: The International Setting, and the Franco-Russian Alliance …..…………………………….. 47 Chapter 4: France, the Russian Railways, and Imperial Intersections in Action …..…………………….. 65 Conclusions and Afterthoughts ……………………………………………………………… 88 References ……………………………………………………………………………………. 99 ACKNOWLEDGEMENTS The author would like to express his sincere appreciation to his thesis committee chair, Professor Elena Campbell, for her patience, and guidance in the study of empire. The author would like to express his appreciation to his committee co-chair Professor Glennys Young for her guidance in the classroom on writing and formulating arguments. The author would also like to express appreciation for Professor Yong-Chool Ha for his guidance in economic development and industrialization in the Russian Empire, as well as introducing the author to the field of Industrialization and International Relations. Finally, the author would like to express his gratitude to Dr. Michael Biggins for his invaluable assistance in finding resource materials for this thesis. Also the author would like to acknowledge that this thesis would never have been completed without the continued support of his friends and family. -
American Historical Society of Germans from Russia
Clues Clues Clues Clues American Historical Society of Germans from Russia 2019 Edition Clues CONTENTS Surname Exchange ..............................................................................................................................1 Surname Exchange Section I ...............................................................................................................3 Surname Exchange Section II ............................................................................................................16 AHSGR Village Coordinators .............................................................................................................41 Belowesch Colonies: Suggested sources for German Origin Research ............................................52 Reconstructed First Settlers of Hussenbach ......................................................................................55 AHSGR History ...................................................................................................................................77 Instructions for Submitting a GEDCOM File to the AHSGR Database ...............................................94 Published by American Historical Society of Germans from Russia 631 D Street Lincoln, Nebraska 68502-1199 Phone: 402-474-3363 Email: [email protected] Copyright 2019 by the American Historical Society of Germans from Russia. All rights reserved. ISSN 0149-1725 Surname Exchange Introduction The Surname Exchange is a research tool enabling AHSGR members who are researching similar names to -
THE RUSSIAN SALE Wednesday 7 June 2017
THE RUSSIAN SALE Wednesday 7 June 2017 THE RUSSIAN SALE Wednesday 7 June 2017 at 3pm 101 New Bond Street, London BONHAMS BIDS ENQUIRIES ILLUSTRATIONS 101 New Bond Street +44 (0) 20 7447 7447 London Front cover: Lot 28 (detail) London W1S 1SR +44 (0) 20 7447 7401 fax Daria Chernenko Back cover: lot 132 To bid via the internet please visit +44 (0) 20 7468 8338 Inside front: Lot 6 www.bonhams.com www.bonhams.com [email protected] Inside back: Lot 29 (detail) Opposite page: Lot 30 (detail) VIEWING Please provide details of the Cynthia Coleman Sparke Sunday 4 June 2017 lots on which you wish to place +44 (0) 20 7468 8357 To submit a claim for refund of 11am to 3pm bids at least 24 hours prior to [email protected] VAT, HMRC require lots to be Monday 5 June 2017 the sale. exported from the EU within strict 9am to 4.30pm Sophie Law deadlines. For lots on which Tuesday 6 June 2017 New bidders must also provide +44 (0) 207 468 8334 Import VAT has been charged 9am to 4.30pm proof of identity when submitting [email protected] (marked in the catalogue with a *) Wednesday 7 June 2017 bids. Failure to do this may result lots must be exported within 30 9am to 12pm in your bids not being processed. New York days of Bonhams’ receipt of pay- Yelena Harbick ment and within 3 months of the SALE NUMBER Bidding by telephone will only be +1 212 644 9136 sale date. -
Julius Stieglitz 1867-1937
NATIONAL ACADEMY OF SCIENCES OF THE UNITED STATES OF AMERICA BIOGRAPHICAL MEMOIRS VOLUME XXI SEVENTH MEMOIR BIOGRAPHICAL MEMOIR OF JULIUS STIEGLITZ 1867-1937 BY WILLIAM ALBERT NOYES PRESENTED TO THE ACADEMY AT THE AUTUMN MEETING, 1939 JULIUS STIEGLITZ* 1867-1937 BY WILLIAM ALBERT NOYES Edward Stieglitz, the father of the subject of this sketch, was born in Gehaus, Thuringia, Germany but spent most of his life in Hoboken, New Jersey, and in New York City. He was an importer of woolen goods and notable for his integrity and high ideals. At one time a letter from the west was directed "To the most honest man in New York City". It was given to Edward Stieglitz. It was in the home of such a man that Julius Stieglitz acquired that sterling honesty which was one of his character- istics to every one who knew him. Neither Edward nor his wife, Iledwig Werner Stieglitz, had extensive academic training. Professor Adolph Werner, the mother's cousin, taught German at the City College, New York. He was a great teacher who loved young people and labored in their interest. There were also Rabbis and other professional men on the mother's side. Julius and his identical twin, Leopold, were born in Hoboken, N. J., May 26, 1867. Before he was fourteen Julius studied the violincello in New York and later continued the study with Lindner, a noted teacher, at Karlsruhe. His twin brother Leo- pold played the violin. Julius always retained a great love for music and for the opera. The twins attended kindergarten in New York City and after that the public schools until they were prepared for the exami- nations for entrance to the City College of New York.