Art And Commerce In Late Imperial Russia

Andrey Shabanov's seminal reinterpretation of the Peredvizhniki is a comprehensive study that examines in-depth for the first time the organizational structure, self-representation, exhibitions, and critical reception of this 19th-century artistic partnership. Shabanov advances a more pragmatic reading of the Peredvizhniki, artists seeking professional and creative freedom in authoritarian Tsarist Russia. He likewise demonstrates and challenges how and why the group eventually came to be defined as a critically-minded Realist art movement. Unprecedentedly rich in new primary visual and textual sources, the book also connects afresh the Russian and Western art worlds of the period. A must-read for anyone interested in Russian art and culture, 19th-century European art, and also the history of art exhibitions, art movements, and the art market.

Art Periodical Culture in Late Imperial Russia (1898-1917). Print Modernism in Transition offers a detailed exploration of the major Modernist art periodicals in late imperial Russia, the World of Art (Mir Iskusstva, 1899-1904), The Golden Fleece (Zolotoe runo, 1906-1909) and Apollo (Apollon, 1909-1917).

In the turbulent atmosphere of early twentieth-century Tsarist Russia, avant-garde artists took advantage of a newly pluralistic culture in order to challenge orthodoxies of form as well as social prohibitions. Very few did this as effectively, or to as broad an audience, as Mikhail Larionov. This groundbreaking study examines the complete range of his work (painting, book illustration, performance, and curatorial work), and demonstrates that Larionov was taking part in a broader cultural conversation that arose out of fundamental challenges to autocratic rule. Sarah Warren brings the culture of late Imperial Russia out of obscurity, highlighting Larionov's specific interventions into conversations about nationality and empire, democracy and autocracy, and people and intelligentsia that colonized all areas of cultural production. Rather than analyzing Larionov's works within the same interpretive frameworks as those of his contemporaries in France or Germany-such as Matisse or Kirchner-Warren explores the Russian's negotiations with both nationalism and modernism. Further, this study shows that Larionov's group exhibitions, public debates, and face-painting performances were more than a derivative repetition of the techniques of the Italian Futurists. Rather, these activities were the culmination of his attempt to create a radical primitivism, one that exploited the widespread Russian desire for an authentic collective identity, while resisting imperial efforts to appropriate this revivalism to its own ends.

Imperial Russia before the 1917 Revolution had a great tradition of private collecting. In this book, the authors reconstruct a tour of the great Russian collections as they would have been just prior to the fall of the Romanovs. The collections are brought back to life by watercolours and drawings of their palaces, as well as photographs of interiors, family portraits and, naturally, by the works of art that they collected, now all in Russian museums or museums abroad.

This exhibition catalogue of works from many sources outside Russia publishes lesser known works by avant-garde painters of the twentieth century such as Goncharova, Malevich, Larionov, Konchalovskii, A. Exter; by many well-known artists of late imperial Russia such as Repin, Somov, Roerich, Korovin, Vasnetsov, and Dobuzhinskii; by major nineteenth-century figures such as Kiprenskii, Briullov, Venetsianov, Ivanov, and Troponin; by the first significant portraitists in Russian art, Rokotov and Borovikhovskii. Biographies of eighty-seven artists and two indexes facilitate the use of the book as a source on nineteenth- and twentieth-century Russian art. -- Summary written by John W. Emerich, Bronze Horseman Literary Agency.

This book examines Russian genre painting in the first three quarters of the nineteenth century. It focuses on five major artists who made significant contributions to Russian intellectual life: Venetsianov, Bryullov, Ivanov, Fedotov, and Perov.

A century of Russian artistic genius, including literature, art, music and dance, within the dynamic cultural ecosystem that shaped it.