{"title":"Connections between 18th-Century Russian and European Culture","authors":"I. A. Abramkin","doi":"10.1353/kri.2023.0022","DOIUrl":null,"url":null,"abstract":"Both of the books reviewed here share commonalities not only in their essaycollection format but also in their subject (cultural interactions between Russia and Europe in the 18th century). Russian-language scholarly work on this problem in the field of art history owes much to the pioneering research of D. V. Sarab ́ianov, who studied 19th-century Russian painting in the context of European schools.1 Before this book, scholars of art tended to consider Russian and European art in isolation from one another. Sarab ́ianov aimed both to identify the general features of artistic processes common to both and to reveal the national specifics of concrete phenomena; in the process, he uncovered a variety of links among different traditions, inaugurating a methodologically novel approach. He considered not only general problems (the specifics of Russian Romanticism, Realism, Impressionism, and Modernism in the European context) but more specific ones as well (comparing artists of A. G. Venetsianov’s circle and German Biedermeier art, A. A. Ivanov and the","PeriodicalId":45639,"journal":{"name":"KRITIKA-EXPLORATIONS IN RUSSIAN AND EURASIAN HISTORY","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"KRITIKA-EXPLORATIONS IN RUSSIAN AND EURASIAN HISTORY","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/kri.2023.0022","RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"HISTORY","Score":null,"Total":0}
引用次数: 0
Abstract
Both of the books reviewed here share commonalities not only in their essaycollection format but also in their subject (cultural interactions between Russia and Europe in the 18th century). Russian-language scholarly work on this problem in the field of art history owes much to the pioneering research of D. V. Sarab ́ianov, who studied 19th-century Russian painting in the context of European schools.1 Before this book, scholars of art tended to consider Russian and European art in isolation from one another. Sarab ́ianov aimed both to identify the general features of artistic processes common to both and to reveal the national specifics of concrete phenomena; in the process, he uncovered a variety of links among different traditions, inaugurating a methodologically novel approach. He considered not only general problems (the specifics of Russian Romanticism, Realism, Impressionism, and Modernism in the European context) but more specific ones as well (comparing artists of A. G. Venetsianov’s circle and German Biedermeier art, A. A. Ivanov and the
期刊介绍:
A leading journal of Russian and Eurasian history and culture, Kritika is dedicated to internationalizing the field and making it relevant to a broad interdisciplinary audience. The journal regularly publishes forums, discussions, and special issues; it regularly translates important works by Russian and European scholars into English; and it publishes in every issue in-depth, lengthy review articles, review essays, and reviews of Russian, Eurasian, and European works that are rarely, if ever, reviewed in North American Russian studies journals.