The Russian Experiment in Art 1863-1922 (Revised Edition) (World of Art)

The Russian Experiment in Art 1863-1922 (Revised Edition) (World of Art)

Language: English

Pages: 324

ISBN: 0500202079

Format: PDF / Kindle (mobi) / ePub

"Not only an indispensable contribution to the study of modern art, but also an illuminating study of modern Russia." ―Hilton Kramer, The Nation

When the original edition of this book was published, John Russell hailed it as "a massive contribution to our knowledge of one of the most fascinating and mysterious episodes in the history of modern art." It still remains the most compact, accurate and reasonably priced survey of sixty years of creative dynamic activity that profoundly influenced the progress of Western art and architecture. 256 illustrations, 21 in color

Eminem and Rap, Poetry, Race: Essays

The Future of the Image

The Aesthetics of Mimesis: Ancient Texts and Modern Problems

Handbook of Inaesthetics (Meridian: Crossing Aesthetics)

The Aesthetics of Mimesis: Ancient Texts and Modern Problems

The Philosophy of Art: An Introduction



















over by Diaghilev in the Grand Palais. It was a much bolder enterprise, however, than that of the previous year and was designed Russian section at the Salon in Paris. to introduce the whole of Russian art to the West. The exhibition began with examples of icon painting - the least impressive works in 54 few icons had been cleaned at this date. (It was not of 19 13 held in Moscow to celebrate the tercentenary of the Romanov dynasty that Russian icon painting was revealed in all its

the members of the 'World of Art' and the Symbolist school was later realized in a physical inter-development of literature and painting which is one of the most outstanding characteristics of the CuboFuturist and subsequent schools of abstract painting which developed in Russia during the years 19 10-21. Thus these Symbolist magazines not only included the work of Briussov, Balmont and Blok and the French writers from whom they sought their inspiration, but also devoted space to developments in

Russian eighteenth-century portrait 73 5-1 822] and Briullov [Russian painter of classical school, t *799- 1 $S 2 ]i Velasquez and Manet, and the German woodcuts of But can one create an art capable of the sixteenth century. . general . . communication from such a sauce of history? 13 This revolt against the 'World of Art' was paradoxically enough revealed at its own exhibition of 1906. number of works, by artists It brought together who now had little in a large common:

the December Revolution in artists, he took a lively interest and was even responsible for distributing illegal literature. Malevich never entered the Moscow College, but worked in Roerburg's studio, considered the most avant-garde of its kind; he remained here until 191 o. It was through Roerburg that Malevich was brought to the notice of Larionov. Malevich's works of 1905-8 were executed in a highly rhythmic brushstroke; in construction they were based on the work of Cezanne, Van Gogh, Gauguin,

roots the ideas which culminated in the pioneer work of Malevich and Tatlin. My task has met with many difficulties, for the documentation on this subject is rare and hard to find. There has been almost no general account of the period of 1910-20 in Russian art and I have had to turn to newspaper articles, unpublished memoirs, recollections of Tatlin, as a spiritual activity those - often so contradictory - exhibition catalogues, memoirs and occasional references in of the period which are far

Download sample