Pub Date : 2022-12-21DOI: 10.30965/2211730x-12340033
Yelizaveta Raykhlina
The women’s fashion magazine Listok dlia svetskikh liudei (1839–1845) printed satirical lithographs by the Russo-Baltic artist Vasilii Fedorovich Timm in 1843–1844, providing an important forum for merging the physiological sketch with the fashion press. Listok presented Timm with a serialized format, whereby his satirical cartoons adapted the physiological sketch to a largely female readership, commenting on courtship, relationships, male vices, as well as social ills, urban life, and the state of journalism in the 1840s. Listok offered visual commentary on issues important to female readers as well as broader observations of Petersburg life and Russian society.
{"title":"Physiological Illustration and a Women’s Fashion Magazine: Vasilii Timm’s Satirical Cartoons in Listok dlia svetskikh liudei, 1843–1844","authors":"Yelizaveta Raykhlina","doi":"10.30965/2211730x-12340033","DOIUrl":"https://doi.org/10.30965/2211730x-12340033","url":null,"abstract":"\u0000 The women’s fashion magazine Listok dlia svetskikh liudei (1839–1845) printed satirical lithographs by the Russo-Baltic artist Vasilii Fedorovich Timm in 1843–1844, providing an important forum for merging the physiological sketch with the fashion press. Listok presented Timm with a serialized format, whereby his satirical cartoons adapted the physiological sketch to a largely female readership, commenting on courtship, relationships, male vices, as well as social ills, urban life, and the state of journalism in the 1840s. Listok offered visual commentary on issues important to female readers as well as broader observations of Petersburg life and Russian society.","PeriodicalId":41469,"journal":{"name":"Experiment-A Journal of Russian Culture","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45201280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-21DOI: 10.30965/2211730x-12340025
Z. Hoffman
Stepan Fedorovich Sokolovskii (pen name Coré) served as the primary caricaturist for the prominent St. Petersburg newspaper Novoe vremia (New Times, 1868–1917) in the late 1890s and early 1900s. While his vibrant style and prolific output have led his cartoons to appear frequently in scholarship, few studies examine his work specifically. Interestingly, his illustrations for Novoe vremia focus almost exclusively on international politics, and thus, prominently engage in national and ethnic stereotypes. These caricatures not only offered eye-catching and amusing visual depictions of foreign relations, they also showed Russia’s imperial rivals as buffoonish back-stabbers that represented the worst excesses of imperialist exploitation. In this way, Sokolovskii’s works offer an intriguing snapshot of popular attitudes towards Russia’s allies and enemies. This essay surveys the broad themes of Sokolovskii’s work and examines the ways his drawings encapsulated complex international conflicts and offered pithy visual representations of Novoe vremia’s loyalist and nationalistic take on foreign affairs. Further, it fills a gap in the scholarship by shedding light on the biography of this prolific artist and examining his views on political caricature as a medium.
{"title":"Stepan Sokolovskii, Novoe vremia, and the Cartoons of Empire","authors":"Z. Hoffman","doi":"10.30965/2211730x-12340025","DOIUrl":"https://doi.org/10.30965/2211730x-12340025","url":null,"abstract":"\u0000 Stepan Fedorovich Sokolovskii (pen name Coré) served as the primary caricaturist for the prominent St. Petersburg newspaper Novoe vremia (New Times, 1868–1917) in the late 1890s and early 1900s. While his vibrant style and prolific output have led his cartoons to appear frequently in scholarship, few studies examine his work specifically. Interestingly, his illustrations for Novoe vremia focus almost exclusively on international politics, and thus, prominently engage in national and ethnic stereotypes. These caricatures not only offered eye-catching and amusing visual depictions of foreign relations, they also showed Russia’s imperial rivals as buffoonish back-stabbers that represented the worst excesses of imperialist exploitation. In this way, Sokolovskii’s works offer an intriguing snapshot of popular attitudes towards Russia’s allies and enemies. This essay surveys the broad themes of Sokolovskii’s work and examines the ways his drawings encapsulated complex international conflicts and offered pithy visual representations of Novoe vremia’s loyalist and nationalistic take on foreign affairs. Further, it fills a gap in the scholarship by shedding light on the biography of this prolific artist and examining his views on political caricature as a medium.","PeriodicalId":41469,"journal":{"name":"Experiment-A Journal of Russian Culture","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43608658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-21DOI: 10.30965/2211730x-12340024
J. Brooks
Caricature became entrenched as a common form of social commentary in Russian visual culture in the latter half of the nineteenth century. Four prominent humor magazines: Iskra (Spark, 1859–1873), Budil’nik (Alarm Clock, 1865–1918), Strekoza (Dragonfly, 1875–1908), and Oskolki (Splinters, 1881–1916) promoted caricatures and built success largely on the public’s appetite for them. The editors and staff of these humor magazines made caricature a ready and effective tool of social criticism and helped develop a critical public familiar enough with the form to appreciate it. The rather gentle caricature of the early period and its benign social criticism established a foundation for a harsher partisan form of caricature as political advocacy during the revolution of 1905–1906.
{"title":"Caricature and Print Culture in Late-Imperial Russia","authors":"J. Brooks","doi":"10.30965/2211730x-12340024","DOIUrl":"https://doi.org/10.30965/2211730x-12340024","url":null,"abstract":"\u0000 Caricature became entrenched as a common form of social commentary in Russian visual culture in the latter half of the nineteenth century. Four prominent humor magazines: Iskra (Spark, 1859–1873), Budil’nik (Alarm Clock, 1865–1918), Strekoza (Dragonfly, 1875–1908), and Oskolki (Splinters, 1881–1916) promoted caricatures and built success largely on the public’s appetite for them. The editors and staff of these humor magazines made caricature a ready and effective tool of social criticism and helped develop a critical public familiar enough with the form to appreciate it. The rather gentle caricature of the early period and its benign social criticism established a foundation for a harsher partisan form of caricature as political advocacy during the revolution of 1905–1906.","PeriodicalId":41469,"journal":{"name":"Experiment-A Journal of Russian Culture","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46798924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-21DOI: 10.30965/2211730x-12340037
O. Minin
{"title":"Caricature in Russia (1800–1940s): A Brief Introduction","authors":"O. Minin","doi":"10.30965/2211730x-12340037","DOIUrl":"https://doi.org/10.30965/2211730x-12340037","url":null,"abstract":"","PeriodicalId":41469,"journal":{"name":"Experiment-A Journal of Russian Culture","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49459615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-21DOI: 10.30965/2211730x-12340028
Tobie Mathew
Postcards, long used to mark significant occasions in the lives of individuals, were deployed in early 1917 to herald wholesale change in the life of the nation. Following the downfall of the Tsar, censorship was nominally abolished and amid a fast developing market economy, many different publishers sought to take advantage, both to profit and to persuade. Within days of Nicholas II’s abdication, postcards carrying revolutionary imagery were being offered in shops and kiosks, and within a few months, a wide range of different photographic, artistic, and satirical cards had also become available. This article focuses on commercially produced caricature postcards, adopting a broad remit to examine both anti-tsarist images satirizing the Imperial Family, and artist-drawn cards commemorating and critiquing the February Revolution. To this end, it has two main aims; first, to analyze the role of postcards as a political bridge between contemporary events and the Russian population; and second, to examine the key part played by private and commercial publishers in disseminating a broadly liberal interpretation of revolutionary events in the months after the Tsar’s overthrow.
{"title":"Citizens and Tsars: Russian Caricature Postcards of the Provisional Government Era","authors":"Tobie Mathew","doi":"10.30965/2211730x-12340028","DOIUrl":"https://doi.org/10.30965/2211730x-12340028","url":null,"abstract":"Postcards, long used to mark significant occasions in the lives of individuals, were deployed in early 1917 to herald wholesale change in the life of the nation. Following the downfall of the Tsar, censorship was nominally abolished and amid a fast developing market economy, many different publishers sought to take advantage, both to profit and to persuade. Within days of Nicholas II’s abdication, postcards carrying revolutionary imagery were being offered in shops and kiosks, and within a few months, a wide range of different photographic, artistic, and satirical cards had also become available. This article focuses on commercially produced caricature postcards, adopting a broad remit to examine both anti-tsarist images satirizing the Imperial Family, and artist-drawn cards commemorating and critiquing the February Revolution. To this end, it has two main aims; first, to analyze the role of postcards as a political bridge between contemporary events and the Russian population; and second, to examine the key part played by private and commercial publishers in disseminating a broadly liberal interpretation of revolutionary events in the months after the Tsar’s overthrow.","PeriodicalId":41469,"journal":{"name":"Experiment-A Journal of Russian Culture","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45622056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-21DOI: 10.30965/2211730x-12340030
J. Goodwin
The subject of this article is the evolution of Soviet political caricature as reflected in the work of artist Boris Efimov. The article focuses on the post-revolutionary period of Efimov’s career up to the eve of World War II, with particular attention to changes in his work following Stalin’s consolidation of dictatorial power by the early 1930s. While examining the nature of several key political caricatures by Efimov of the 1920s and 1930s, the article also considers the political context and circumstances surrounding Efimov’s work, especially the dramatic reversal of the official Communist Party attitude toward one of the Revolution’s principal leaders and heroes, Lev Trotsky. Based mainly on testimony in Efimov’s later memoirs, as well as two contemporaneous reviews of Efimov’s work by Trotsky and critic Viacheslav Polonsky, the article aims to demonstrate how political expediency compelled Efimov, who had received the support and patronage of these two influential figures, to alter both the content and style of his political caricatures for the purpose of attacking new imaginary enemies in Stalin’s Russia.
{"title":"Boris Efimov’s Early Soviet Drawings and the Hazards of Political Caricature","authors":"J. Goodwin","doi":"10.30965/2211730x-12340030","DOIUrl":"https://doi.org/10.30965/2211730x-12340030","url":null,"abstract":"\u0000 The subject of this article is the evolution of Soviet political caricature as reflected in the work of artist Boris Efimov. The article focuses on the post-revolutionary period of Efimov’s career up to the eve of World War II, with particular attention to changes in his work following Stalin’s consolidation of dictatorial power by the early 1930s. While examining the nature of several key political caricatures by Efimov of the 1920s and 1930s, the article also considers the political context and circumstances surrounding Efimov’s work, especially the dramatic reversal of the official Communist Party attitude toward one of the Revolution’s principal leaders and heroes, Lev Trotsky. Based mainly on testimony in Efimov’s later memoirs, as well as two contemporaneous reviews of Efimov’s work by Trotsky and critic Viacheslav Polonsky, the article aims to demonstrate how political expediency compelled Efimov, who had received the support and patronage of these two influential figures, to alter both the content and style of his political caricatures for the purpose of attacking new imaginary enemies in Stalin’s Russia.","PeriodicalId":41469,"journal":{"name":"Experiment-A Journal of Russian Culture","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46154434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-21DOI: 10.30965/2211730x-12340038
O. Minin
{"title":"Note to the Reader","authors":"O. Minin","doi":"10.30965/2211730x-12340038","DOIUrl":"https://doi.org/10.30965/2211730x-12340038","url":null,"abstract":"","PeriodicalId":41469,"journal":{"name":"Experiment-A Journal of Russian Culture","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49194796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-21DOI: 10.30965/2211730x-12340035
O. Minin
Surveying the satirical press in the time of the early Russian emigration ca. 1920–1931, this essay focuses on caricatures and satirical drawings published in the Paris-based weeklies Bitche (Whip, 1920) and Satirikon (1931). Arguably, exemplifying the émigré reception and portrayal of Soviet Russia, the graphic works prepared for these journals by artists such as Yurii Annenkov, Mikhail Drizo and Mikhail Linskii sought to lampoon and debunk the Soviet political and military establishment as a gesture of refusal to accept the Bolshevik Revolution and as a reflection of the ressentiment and trauma caused by the need to emigrate. In discussing themes and personalities satirized in these vivid and often poignant caricatures, the essay also attempts to delineate the context against which they were created in order to provide a more precise understanding of their commentaries.
{"title":"Soviet Russia and Its Leaders in the Satirical Press of the Early Russian Emigration","authors":"O. Minin","doi":"10.30965/2211730x-12340035","DOIUrl":"https://doi.org/10.30965/2211730x-12340035","url":null,"abstract":"\u0000 Surveying the satirical press in the time of the early Russian emigration ca. 1920–1931, this essay focuses on caricatures and satirical drawings published in the Paris-based weeklies Bitche (Whip, 1920) and Satirikon (1931). Arguably, exemplifying the émigré reception and portrayal of Soviet Russia, the graphic works prepared for these journals by artists such as Yurii Annenkov, Mikhail Drizo and Mikhail Linskii sought to lampoon and debunk the Soviet political and military establishment as a gesture of refusal to accept the Bolshevik Revolution and as a reflection of the ressentiment and trauma caused by the need to emigrate. In discussing themes and personalities satirized in these vivid and often poignant caricatures, the essay also attempts to delineate the context against which they were created in order to provide a more precise understanding of their commentaries.","PeriodicalId":41469,"journal":{"name":"Experiment-A Journal of Russian Culture","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47063124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-21DOI: 10.30965/2211730x-12340029
N. Misler
The focus of this article is on the social caricatures which Vladimir Vasil’evich Lebedev (1891–1967) produced just before and after 1917, especially for the journals Satirikon and Novyi Satirikon (New Satyricon), tо which his immediate colleagues such as Boris Grigor’ev and Vladimir Kozlinsky also contributed. With copious references to Lebedev’s personal archive and to his domestic “laboratory” of cut-outs and preliminary drawings, the text and illustrations treat of Lebedev’s satirical attitudes towards both the bourgeoisie and the political élite and of his often ambivalent depiction of “friends” and “enemies,” a condition also evident in his ROSTA posters and in Nikolai Punin’s 1922 book of reproductions called Russkii plakat 1917–1922. A key argument is that during the 1910s–1930s, ideological pressures notwithstanding, Lebedev managed to retain an esthetic distance and that, rather than kowtow to a given regime, ultimately, found artistic refuge in illustrations for children’s books, often in collaboration with writers such as Samuil Marshak.
{"title":"Satire and Propaganda in the Graphic Art of Vladimir Lebedev","authors":"N. Misler","doi":"10.30965/2211730x-12340029","DOIUrl":"https://doi.org/10.30965/2211730x-12340029","url":null,"abstract":"\u0000 The focus of this article is on the social caricatures which Vladimir Vasil’evich Lebedev (1891–1967) produced just before and after 1917, especially for the journals Satirikon and Novyi Satirikon (New Satyricon), tо which his immediate colleagues such as Boris Grigor’ev and Vladimir Kozlinsky also contributed. With copious references to Lebedev’s personal archive and to his domestic “laboratory” of cut-outs and preliminary drawings, the text and illustrations treat of Lebedev’s satirical attitudes towards both the bourgeoisie and the political élite and of his often ambivalent depiction of “friends” and “enemies,” a condition also evident in his ROSTA posters and in Nikolai Punin’s 1922 book of reproductions called Russkii plakat 1917–1922. A key argument is that during the 1910s–1930s, ideological pressures notwithstanding, Lebedev managed to retain an esthetic distance and that, rather than kowtow to a given regime, ultimately, found artistic refuge in illustrations for children’s books, often in collaboration with writers such as Samuil Marshak.","PeriodicalId":41469,"journal":{"name":"Experiment-A Journal of Russian Culture","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44542464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-21DOI: 10.30965/2211730x-12340036
John E. Bowlt
{"title":"In Memory of Mark Konecny","authors":"John E. Bowlt","doi":"10.30965/2211730x-12340036","DOIUrl":"https://doi.org/10.30965/2211730x-12340036","url":null,"abstract":"","PeriodicalId":41469,"journal":{"name":"Experiment-A Journal of Russian Culture","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49581358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：