Arts And Crafts In Late Imperial Russia

Arts and Crafts in Late Imperial Russia is the first account of the revival of Russia's Kustar art industries from their origins in the populist debates and philanthropic impulses of the early 1870s to their climax in 1913, with the display of their achievements at the Second All-Russian Kustar Exhibition in St Petersburg. This study uncovers the complex motivations that lead a broad cross-section of educated Russian society to devote their money, energy, and artistic skills to save Kustar arts and crafts from extinction by adapting them to satisfy the tastes of a new, well-to-do urban consumer. Focusing on the four major centres of Kustar art production, it also examines the role of the professional artist in the creative life of the peasant artist, the place of traditional culture in modern society, and the ways in which traditional gender roles affected the production of Kustar crafts.

Arts and Crafts in Late Imperial Russia is the first account of the revival of Russia's Kustar art industries from their origins in the populist debates and philanthropic impulses of the early 1870s to their climax in 1913, with the display of their achievements at the Second All-Russian Kustar Exhibition in St Petersburg. This study uncovers the complex motivations that lead a broad cross-section of educated Russian society to devote their money, energy, and artistic skills to save Kustar arts and crafts from extinction by adapting them to satisfy the tastes of a new, well-to-do urban consumer. Focusing on the four major centres of Kustar art production, it also examines the role of the professional artist in the creative life of the peasant artist, the place of traditional culture in modern society, and the ways in which traditional gender roles affected the production of Kustar crafts.

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). By exploring the role of art reproduction in the nineteenth century and the emergence of these innovative art journals in the turn of the century, Hanna Chuchvaha proves that these Modernist periodicals advanced the Russian graphic arts and reinforced the development of reproduction technologies and the art of printing. Offering a detailed examination of the “inaugural” issues, which included editorial positions expressed in words and images, Hanna Chuchvaha analyses the periodicals’ ideologies and explores journals as art objects appearing in their unique socio-historical context in imperial Russia.

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.

In 1911 Vasily Kandinsky published the first edition of ‘On the Spiritual in Art’, a landmark modernist treatise in which he sought to reframe the meaning of art and the true role of the artist. For many artists of late Imperial Russia – a culture deeply influenced by the regime’s adoption of Byzantine Orthodoxy centuries before – questions of religion and spirituality were of paramount importance. As artists and the wider art community experimented with new ideas and interpretations at the dawn of the twentieth century, their relationship with ‘the spiritual’ – broadly defined – was inextricably linked to their roles as pioneers of modernism. This diverse collection of essays introduces new and stimulating approaches to the ongoing debate as to how Russian artistic modernism engaged with questions of spirituality in the late nineteenth to mid-twentieth centuries. Ten chapters from emerging and established voices offer new perspectives on Kandinsky and other familiar names, such as Kazimir Malevich, Mikhail Larionov, and Natalia Goncharova, and introduce less well-known figures, such as the Georgian artists Ucha Japaridze and Lado Gudiashvili, and the craftswoman and art promoter Aleksandra Pogosskaia. Prefaced by a lively and informative introduction by Louise Hardiman and Nicola Kozicharow that sets these perspectives in their historical and critical context, Modernism and the Spiritual in Russian Art: New Perspectives enriches our understanding of the modernist period and breaks new ground in its re-examination of the role of religion and spirituality in the visual arts in late Imperial Russia. Of interest to historians and enthusiasts of Russian art, culture, and religion, and those of international modernism and the avant-garde, it offers innovative readings of a history only partially explored, revealing uncharted corners and challenging long-held assumptions.

This book brings together the large volume of work on late Tsarist Russia published over the last 30 years, to show an overall picture of Russia under the last two tsars - before the war brought down not only the Russian empire but also those of Germany, Austria–Hungary and Turkey. It turns the attention from the old emphases on workers, revolutionaries, and a reactionary government, to a more diverse and nuanced picture of a country which was both a major European great power, facing the challenges of modernization and industrialization, and also a multi-ethnic and multi-confessional empire stretching across both Europe and Asia.

This book includes some 200 complete entries from the award-winning Dictionary of Women Artists, as well as a selection of introductory essays from the main volume.

"This collection of essays examines the lives of women across Russia--from wealthy noblewomen in St Petersburg to desperately poor peasants in Siberia--discussing their interaction with the Church and the law, and their rich contribution to music, art, literature and theatre. It shows how women struggled for greater autonomy and, both individually and collectively, developed a dynamic presence in Russia's culture and society"--Publisher's description.

First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

This collection of essays stems from the conference 'Internationalism and the Arts: Anglo-European Cultural Exchange at the Fin de Siècle' held at Magdalene College, Cambridge, in July 2006. The growth of internationalism in Europe at the fin de siècle encouraged confidence in the possibility of peace. A wartorn century later, it is easy to forget such optimism. Flanked by the Franco-Prussian war and the First World War, the late nineteenth and early twentieth centuries were marked by rising militarism. Themes of national consolidation and aggression have become key to any analysis of the period. Yet despite the drive towards political and cultural isolation, transnational networks gathered increasing support. This book examines the role played by artists, writers, musicians and intellectuals in promoting internationalism. It explores the range of individuals, media and movements involved, from cosmopolitan characters such as Walter Sickert and Henri La Fontaine, through internationalist art societies, to periodicals, performance, and the mobility of the Arts and Crafts Movement. The discussion takes in the geographical breadth of Europe, incorporating Belgium, Bohemia, Britain, France, Germany, Hungary, Italy, Norway, Poland, Russia and Slovakia. Drawing on the work of scholars from across Europe and America, the collection makes a statement about the complexity of European identities at the fin de siècle, as well as about the possibilities for interdisciplinary research in our own era.