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":" ","pages":""},"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}
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":" ","pages":""},"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-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":" ","pages":""},"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-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":" ","pages":""},"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-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":" ","pages":""},"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":" ","pages":""},"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":" ","pages":""},"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-12341339
E. Vyazova
This article analyzes the Neo-Russian style in children’s book illustrations in Russia and compares it to analogous artistic developments in England, revealing a similar evolutionary path to that of other national variants of Art Nouveau. The initial aesthetic impulse for this evolution came from the promotion of crafts and medieval handicrafts by “enlightened amateurs.” The history of children’s books, with its patently playful nature, aestheticization of primitives, and free play with quotations from the history of art, is an important episode in the history of Russian and English Art Nouveau. Starting with a consideration of the new attitude towards the “theme of childhood” as such, and a new focus on the child’s perception of the world, this article reveals why the children’s book, long treated as a marginal genre, became a fertile and universal field for artistic experimentation at the turn of the twentieth century. It then focuses on Elena Polenova’s concept of children’s book illustrations, which reflected both her enthusiasm for the British Arts and Crafts movement, and, in particular, the work of Walter Crane, and her profound knowledge of Russian crafts and folklore. The last part of the article deals with the artistic experiments of Ivan Bilibin and the similarities of his book designs to those of Walter Crane.
{"title":"English Influences, Russian Experiments","authors":"E. Vyazova","doi":"10.1163/2211730x-12341339","DOIUrl":"https://doi.org/10.1163/2211730x-12341339","url":null,"abstract":"\u0000This article analyzes the Neo-Russian style in children’s book illustrations in Russia and compares it to analogous artistic developments in England, revealing a similar evolutionary path to that of other national variants of Art Nouveau. The initial aesthetic impulse for this evolution came from the promotion of crafts and medieval handicrafts by “enlightened amateurs.” The history of children’s books, with its patently playful nature, aestheticization of primitives, and free play with quotations from the history of art, is an important episode in the history of Russian and English Art Nouveau. Starting with a consideration of the new attitude towards the “theme of childhood” as such, and a new focus on the child’s perception of the world, this article reveals why the children’s book, long treated as a marginal genre, became a fertile and universal field for artistic experimentation at the turn of the twentieth century. It then focuses on Elena Polenova’s concept of children’s book illustrations, which reflected both her enthusiasm for the British Arts and Crafts movement, and, in particular, the work of Walter Crane, and her profound knowledge of Russian crafts and folklore. The last part of the article deals with the artistic experiments of Ivan Bilibin and the similarities of his book designs to those of Walter Crane.","PeriodicalId":41469,"journal":{"name":"Experiment-A Journal of Russian Culture","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/2211730x-12341339","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49115416","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：