Pub Date : 2022-12-21DOI: 10.30965/2211730x-12340034
Ирина Меньшова
В графике начала 20 века значительное место занимают карикатура, сатирический рисунок, шарж. Художники не только публиковали их на страницах периодических изданий, но и рисовали их для себя, для узкого круга своих знакомых, а порой и опубликованный рисунок имел дополнительный контекст, понятный посвященным. Настоящие заметки включают несколько сюжетов, каждый из которых связан с творчеством Сергея Судейкина.
{"title":"“Это только отрывки … как видения”. Сергей Судейкин и вокруг (1913–1917)","authors":"Ирина Меньшова","doi":"10.30965/2211730x-12340034","DOIUrl":"https://doi.org/10.30965/2211730x-12340034","url":null,"abstract":"\u0000 В графике начала 20 века значительное место занимают карикатура, сатирический рисунок, шарж. Художники не только публиковали их на страницах периодических изданий, но и рисовали их для себя, для узкого круга своих знакомых, а порой и опубликованный рисунок имел дополнительный контекст, понятный посвященным. Настоящие заметки включают несколько сюжетов, каждый из которых связан с творчеством Сергея Судейкина.","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":"45418882","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-12340032
Viktor Golubinov
The article focuses on Aleksei Mikhailovich Kremkov (1898-1948), graduate of the St. Petersburg Naval Corps, who received his military education—and baptism of fire—during the First World War and Civil War, and who, in emigration, worked as caricaturist in France and USA under the pseudonym Alex Gard. Gard collaborated with The New York Herald Tribune and many other serials, his cartoons graced the walls of the prestigious Sardi’s Restaurant in New York, and he published several albums of caricatures (including skits on military service, the Russian ballet, and the cream of America’s theater and cinema bohemia in the 1930s and 1940s). True, his cartoons brought tears to many an eye, but they also inspired people to understand themselves better and even to bolster self-confidence. Little has been written about Gard and biographical data are often contradictory. This article publishes vintage photographs and inscriptions, including a drawing from the collection of the author, whose great-uncle—the Russian ballet dancer in exile—Dimitri Rostoff (D.N. Kulchitsky), was one of Gard’s closest friends.
{"title":"Alex Gard (Aleksei Kremkov): “An Accidentally Americanized Cartoonist”","authors":"Viktor Golubinov","doi":"10.30965/2211730x-12340032","DOIUrl":"https://doi.org/10.30965/2211730x-12340032","url":null,"abstract":"\u0000 The article focuses on Aleksei Mikhailovich Kremkov (1898-1948), graduate of the St. Petersburg Naval Corps, who received his military education—and baptism of fire—during the First World War and Civil War, and who, in emigration, worked as caricaturist in France and USA under the pseudonym Alex Gard. Gard collaborated with The New York Herald Tribune and many other serials, his cartoons graced the walls of the prestigious Sardi’s Restaurant in New York, and he published several albums of caricatures (including skits on military service, the Russian ballet, and the cream of America’s theater and cinema bohemia in the 1930s and 1940s). True, his cartoons brought tears to many an eye, but they also inspired people to understand themselves better and even to bolster self-confidence. Little has been written about Gard and biographical data are often contradictory. This article publishes vintage photographs and inscriptions, including a drawing from the collection of the author, whose great-uncle—the Russian ballet dancer in exile—Dimitri Rostoff (D.N. Kulchitsky), was one of Gard’s closest friends.","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":"47503464","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-12340023
Andrey Rossomakhin, Vasily Uspensky
This research traces the evolution and transformation of the metaphor of the “Imperial Step,” which signifies the expansionist ambitions of Russia’s Imperial, Soviet and Post-Soviet rulers from Catherine the Great to Vladimir Putin as expressed in caricatures and satirical cartoons appearing predominantly in Britain, France, and Germany. Following in chronological order, each section is devoted to the discussion of a pertinent example of the Imperial Step beginning with late 18th century British caricature satirizing Catherine the Great in the context of her “Greek Project” and concluding with a contemporary caricature with Putin as the principal protagonist.
{"title":"“An Imperial Stride”: Two Hundred and Thirty Years of Transforming a Metaphor","authors":"Andrey Rossomakhin, Vasily Uspensky","doi":"10.30965/2211730x-12340023","DOIUrl":"https://doi.org/10.30965/2211730x-12340023","url":null,"abstract":"\u0000 This research traces the evolution and transformation of the metaphor of the “Imperial Step,” which signifies the expansionist ambitions of Russia’s Imperial, Soviet and Post-Soviet rulers from Catherine the Great to Vladimir Putin as expressed in caricatures and satirical cartoons appearing predominantly in Britain, France, and Germany. Following in chronological order, each section is devoted to the discussion of a pertinent example of the Imperial Step beginning with late 18th century British caricature satirizing Catherine the Great in the context of her “Greek Project” and concluding with a contemporary caricature with Putin as the principal protagonist.","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":"49552871","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-12340031
Stephen M. Norris
“Copying Cartoons” examines a set of albums used by Aleksandr Avgustovich Frolovskii (1867–1942). In the 1930s, Frolovskii, a retired math teacher, purchased the albums and used them to redraw political caricatures published in newspapers such as Pravda (Truth) and Izvestiia (The News) and journals such as Krokodil (Crocodile). Frolovskii was particularly drawn to the works of Boris Efimov, the principal political caricaturist for Izvestiia, and redrew over 100 of Efimov’s cartoons. Frolovskii’s albums, as this chapter argues, serve as both a visual history of the Stalin era and a record of what it meant to be “Soviet” during the Great Purges.
{"title":"Copying Cartoons: An Intimate History of the Stalinist Caricature","authors":"Stephen M. Norris","doi":"10.30965/2211730x-12340031","DOIUrl":"https://doi.org/10.30965/2211730x-12340031","url":null,"abstract":"\u0000 “Copying Cartoons” examines a set of albums used by Aleksandr Avgustovich Frolovskii (1867–1942). In the 1930s, Frolovskii, a retired math teacher, purchased the albums and used them to redraw political caricatures published in newspapers such as Pravda (Truth) and Izvestiia (The News) and journals such as Krokodil (Crocodile). Frolovskii was particularly drawn to the works of Boris Efimov, the principal political caricaturist for Izvestiia, and redrew over 100 of Efimov’s cartoons. Frolovskii’s albums, as this chapter argues, serve as both a visual history of the Stalin era and a record of what it meant to be “Soviet” during the Great Purges.","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":"49642214","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-12340027
M. Levitt
This article examines the brilliant caricatures by Nikolai Vladimirovich Remizov (Re-mi, born Vasil’ev, 1887–1975) for the Russian satirical journals of 1905–1907. This period marked the first stage of Remizov’s long career, when he emerged as one of the country’s most talented and well-known caricaturists. The article focuses on Remizov’s new, no-holds-barred satire depicting episodes of state-sponsored bloodletting. The satirical journals widely quoted the words of Dmitri Trepov to his troops during the October general strike “not to fire blanks and to spare no cartridges,” a phrase that became a tragi-comic mantra in the satirical journals. It also reflected the take-no-prisoners spirit of Remizov’s caricatures. Further, the article outlines Remizov’s subsequent participation in the few journals—in particular, Satirikon and Novyi Satirikon (New Satyricon)—that strove to keep the satirical tradition of 1905 alive. After the Bolshevik Revolution put a forcible end to these publications, Remizov emigrated, and later forged a long career in the United States as an art designer for stage, television and the big screen.
{"title":"Take No Prisoners Caricature: Nikolai Remizov and the Revolution of 1905","authors":"M. Levitt","doi":"10.30965/2211730x-12340027","DOIUrl":"https://doi.org/10.30965/2211730x-12340027","url":null,"abstract":"\u0000 This article examines the brilliant caricatures by Nikolai Vladimirovich Remizov (Re-mi, born Vasil’ev, 1887–1975) for the Russian satirical journals of 1905–1907. This period marked the first stage of Remizov’s long career, when he emerged as one of the country’s most talented and well-known caricaturists. The article focuses on Remizov’s new, no-holds-barred satire depicting episodes of state-sponsored bloodletting. The satirical journals widely quoted the words of Dmitri Trepov to his troops during the October general strike “not to fire blanks and to spare no cartridges,” a phrase that became a tragi-comic mantra in the satirical journals. It also reflected the take-no-prisoners spirit of Remizov’s caricatures. Further, the article outlines Remizov’s subsequent participation in the few journals—in particular, Satirikon and Novyi Satirikon (New Satyricon)—that strove to keep the satirical tradition of 1905 alive. After the Bolshevik Revolution put a forcible end to these publications, Remizov emigrated, and later forged a long career in the United States as an art designer for stage, television and the big screen.","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":"47714628","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-12340026
N. Caffee, R. Denis
Oskar Schmerling (1863–1938) was a Tbilisi-based artist best known for his illustrations and caricatures in Armenian, Azeri, Georgian, and Russian-language satirical periodicals during the Russian Empire’s post-1905 “press boom.” His work provided a powerful visual component to hotly debated issues of the day, including language policy, ethnic conflict, educational reform, religious practices, Russian cultural and political hegemony, and more. In this article we analyze Schmerling’s use of two satirical personae—the titular devil from the Georgian journal eshmakis matrakhi (Devil’s Whip) and the mullah from the Azeri journal Molla Näsräddin—in light of the diverse cultural and religious communities that comprised his readership and intellectual milieu. Drawing from scholarship on trickster figures in oral, print, and performative genres around the world, we investigate the ways Schmerling used the personae of the devil and the mullah to simultaneously represent the world from more than one perspective, and to speak to communities with varying political agendas in the midst of a collapsing empire. We argue that Schmerling’s work reveals cross-cultural artistic and intellectual connections that contributed to significant political and cultural change in the South Caucasus, culminating in revolutionary activity and the rise of nationalist movements.
{"title":"The Devil and the Mullah: Satirical Personae in the Pre-Revolutionary Press of the South Caucasus","authors":"N. Caffee, R. Denis","doi":"10.30965/2211730x-12340026","DOIUrl":"https://doi.org/10.30965/2211730x-12340026","url":null,"abstract":"\u0000 Oskar Schmerling (1863–1938) was a Tbilisi-based artist best known for his illustrations and caricatures in Armenian, Azeri, Georgian, and Russian-language satirical periodicals during the Russian Empire’s post-1905 “press boom.” His work provided a powerful visual component to hotly debated issues of the day, including language policy, ethnic conflict, educational reform, religious practices, Russian cultural and political hegemony, and more. In this article we analyze Schmerling’s use of two satirical personae—the titular devil from the Georgian journal eshmakis matrakhi (Devil’s Whip) and the mullah from the Azeri journal Molla Näsräddin—in light of the diverse cultural and religious communities that comprised his readership and intellectual milieu. Drawing from scholarship on trickster figures in oral, print, and performative genres around the world, we investigate the ways Schmerling used the personae of the devil and the mullah to simultaneously represent the world from more than one perspective, and to speak to communities with varying political agendas in the midst of a collapsing empire. We argue that Schmerling’s work reveals cross-cultural artistic and intellectual connections that contributed to significant political and cultural change in the South Caucasus, culminating in revolutionary activity and the rise of nationalist movements.","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":"45510931","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 : 2021-02-01DOI: 10.30965/2211730x-12340022
Николетта Мислер
В статье рассматривается творчество Оттона Васильевича Энгельса, ученика, а потом учителя в школе Ф.И. Рерберга, сотрудника ГАХН. Фокус внимания на его графические интерпретации «искусства движения» (танцев, поз, жестов) и соотношение этих рисунков с фотографиями тех же сюжетов. Обсуждаются школы выдающихся представителей «свободного танца» в 1920-е годы, таких, как Вера Майя и Валерия Цветаева.
{"title":"Оттон Энгельс","authors":"Николетта Мислер","doi":"10.30965/2211730x-12340022","DOIUrl":"https://doi.org/10.30965/2211730x-12340022","url":null,"abstract":"\u0000В статье рассматривается творчество Оттона Васильевича Энгельса, ученика, а потом учителя в школе Ф.И. Рерберга, сотрудника ГАХН. Фокус внимания на его графические интерпретации «искусства движения» (танцев, поз, жестов) и соотношение этих рисунков с фотографиями тех же сюжетов. Обсуждаются школы выдающихся представителей «свободного танца» в 1920-е годы, таких, как Вера Майя и Валерия Цветаева.","PeriodicalId":41469,"journal":{"name":"Experiment-A Journal of Russian Culture","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44263284","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 : 2019-09-30DOI: 10.1163/2211730x-12341340
H. Goscilo
The matreshka designed by Sergei Maliutin and turned by Vasilii Zvezdochkin has fulfilled a precisely defined function from its inception in the late 1890s until today. Conceived as a material embodiment of national identity amid Abramtsevo’s revival of endemic Russian traditions, the stacking doll symbolized robust national fecundity. Produced and sold in the workshop Detskoe vospitanie [Children’s Upbringing] established by the Mamontov family, it promoted Russianness in a range of stacked dolls garbed in the ethnic dress of the country’s various regions. During the Soviet era the matreshka became standardized and promoted as the quintessential emblem of a vital Russia, above all to foreigners. The demise of the Soviet Union witnessed the spectacular rise of the author’s matreshka, one indelibly stamped with the creative imagination of its individual creator under new economic and cultural conditions. Political figures, American sports heroes, British rock groups, TV characters, and Hollywood stars all appeared as increasingly decorative stacked dolls. In short, the fate and the appearance of the matreshka accurately reflect Russia’s ideological biases and shifts. If early twentieth-century exploration of diverse national images yielded to a monochromatic defensiveness materialized as the unyielding, stoic child-bearer of Cold War Sovietism, then the post-Soviet matreshka conveys the chameleon-like, cosmetic veneers adopted and discarded by the consumerist society of the 1990s and subsequent decades. My article analyzes the vagaries of the matreshka’s legacy under Soviet and post-Soviet rule, during which the stacked doll has never lost its status as a unique symbol of national identity, though the terms of that symbolism have evolved.
{"title":"Stacking National Identity","authors":"H. Goscilo","doi":"10.1163/2211730x-12341340","DOIUrl":"https://doi.org/10.1163/2211730x-12341340","url":null,"abstract":"\u0000The matreshka designed by Sergei Maliutin and turned by Vasilii Zvezdochkin has fulfilled a precisely defined function from its inception in the late 1890s until today. Conceived as a material embodiment of national identity amid Abramtsevo’s revival of endemic Russian traditions, the stacking doll symbolized robust national fecundity. Produced and sold in the workshop Detskoe vospitanie [Children’s Upbringing] established by the Mamontov family, it promoted Russianness in a range of stacked dolls garbed in the ethnic dress of the country’s various regions. During the Soviet era the matreshka became standardized and promoted as the quintessential emblem of a vital Russia, above all to foreigners.\u0000The demise of the Soviet Union witnessed the spectacular rise of the author’s matreshka, one indelibly stamped with the creative imagination of its individual creator under new economic and cultural conditions. Political figures, American sports heroes, British rock groups, TV characters, and Hollywood stars all appeared as increasingly decorative stacked dolls. In short, the fate and the appearance of the matreshka accurately reflect Russia’s ideological biases and shifts. If early twentieth-century exploration of diverse national images yielded to a monochromatic defensiveness materialized as the unyielding, stoic child-bearer of Cold War Sovietism, then the post-Soviet matreshka conveys the chameleon-like, cosmetic veneers adopted and discarded by the consumerist society of the 1990s and subsequent decades. My article analyzes the vagaries of the matreshka’s legacy under Soviet and post-Soviet rule, during which the stacked doll has never lost its status as a unique symbol of national identity, though the terms of that symbolism have evolved.","PeriodicalId":41469,"journal":{"name":"Experiment-A Journal of Russian Culture","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/2211730x-12341340","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45590004","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}
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