Pub Date : 2019-09-30DOI: 10.1163/2211730x-12341333
John Nelson
It was political turmoil in Russia that brought Savva Mamontov and his Abramtsevo circle together with Nikolai Rimsky-Korsakov. The composer questioned whether the “Official Nationality” decree of Tsar Nicholas I, with its emphasis on autocracy, Orthodoxy, and nationality—which together asserted despotic rule—truly represented the values of a changing Russian society. In addition, his operas found little favor within the Imperial theater directorate. This changed, however, when the Imperial theater monopoly was abolished, allowing private theaters to operate freely. Mamontov opened his Private Opera in 1885 at Abramtsevo and in 1895 in Moscow. His aim was to demonstrate that a private opera house could compete with the Imperial theaters, in addition to giving Moscow the opportunity to see Russian-themed operas. It was Mamontov’s new approach to stage direction, including the incorporation of fine artists in the creative process, that attracted the composer. Harassment by the Tsar, the bureaucracy of the Imperial theaters, and the western-orientated repertoire committee, had all alienated the composer. Mamontov’s dedication to filling a gap in the Russian music world, as well as his challenge to the Imperial theaters, caught Rimsky-Korsakov’s attention. Through their collaboration they questioned the bureaucracy and publicly registered their protest against Nicholas II. Together, they challenged the foundations of the “Official Nationality” doctrine propounded by the tsars since the rule of Nicholas I, which in a changing Russian society had acquired a new meaning.
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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.
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Pub Date : 2019-09-30DOI: 10.1163/2211730x-12341334
W. Salmond
This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Spas nerukotvornyi [Savior Not Made by Human Hands] Church at Abramtsevo in 1880-81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was bitterly attacked in advanced art circles. Yet Vasnetsov’s new icons were increasingly linked with popular culture and the many copies made of them in the late Imperial period suggest that his hybrid image spoke to a generation seeking a resolution to the dilemma of how modern Orthodox worshippers should pray.
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Pub Date : 2019-09-30DOI: 10.1163/2211730x-12341331
Inge Wierda
This article examines the historical and spiritual significance of Radonezh soil and its impact on the artistic practice of the Abramtsevo circle. Through a close reading of three paintings—Viktor Vasnetsov’s Saint Sergius of Radonezh (1881) and Alenushka (1881), and Elena Polenova’s Pokrov Mother of God (1883)—it analyzes how the Abramtsevo artists negotiated Saint Sergius’s legacy alongside their own experiences of the sacred sites in this area and especially the Pokrovskii churches. These artworks demonstrate how, in line with the prevalent nineteenth-century Slavophile interests, Radonezh soil provided a fertile ground for articulating a distinct Russian Orthodox identity in the visual arts of the 1880s and continues to inspire artists to this day.
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Pub Date : 2019-09-30DOI: 10.1163/2211730x-12341344
L. Hardiman
Maria Vasilievna Iakunchikova designed three works of applied art and craft in a Neo-Russian style for the Russian section of the Paris “Exposition Universelle” of 1900—a wooden dresser, a toy village in carved wood, and a large embroidered panel. Yet, so far as the official record is concerned, Iakunchikova’s participation in the exhibition is occluded. Her name does not appear in the catalogue, for it was the producers, rather than the designers, who were credited for her works. Indeed, her presence might have been entirely unknown, were it not for several reports of the Russian display in the periodical press by her friend Netta Peacock, a British writer living in Paris. The invisibility of the designer in this instance was not a matter of gender, but it had consequences for women artists. In general, women were marginalized in the mainstream of the nineteenth-century Russian art world—whether at the Academy of Arts or in prominent groups such as the Peredvizhniki—and, as a result, enjoyed fewer opportunities at the Exposition. But the Neo-national movement, linked closely with the revival of applied art and the promotion of kustar industries, was one in which women’s art had space to flourish. And, in the so-called village russe at the Exposition, which featured a display of kustar art, by far the larger contribution was made by women, both as promoters and as artists. In this article, I examine Iakunchikova’s contribution to the Exposition within a broader context of female artistic activity, and the significance of the Russian kustar pavilion for a gendered history of nineteenth-century art.
Maria Vasilievna Iakunchikova为1900年巴黎“世界博览会”的俄罗斯部分设计了三件新俄罗斯风格的应用艺术和工艺作品——一个木制梳妆台、一个雕刻木玩具村和一块大刺绣板。然而，就官方记录而言，亚孔奇科娃参加展览的活动被屏蔽了。她的名字没有出现在目录中，因为她的作品归功于制作人，而不是设计师。事实上，如果不是她的朋友、居住在巴黎的英国作家内塔·皮科克在期刊上多次报道俄罗斯的展览，她的出现可能是完全未知的。在这种情况下，设计师的隐形与性别无关，但它对女性艺术家产生了影响。总的来说，女性在19世纪俄罗斯艺术界的主流中被边缘化了——无论是在艺术学院还是在Peredvizhniki等知名团体中——因此，在博览会上的机会更少。但与应用艺术的复兴和库斯塔工业的发展密切相关的新民族运动，是一场女性艺术有蓬勃发展空间的运动。而且，在所谓的博览会上的乡村russe，展出了库斯塔艺术，到目前为止，女性做出了更大的贡献，无论是作为推动者还是艺术家。在这篇文章中，我从女性艺术活动的更广泛背景下审视了伊昆奇科娃对博览会的贡献，以及俄罗斯库斯塔展馆对19世纪艺术性别史的意义。
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Pub Date : 2019-09-30DOI: 10.1163/2211730x-12341330
A. Hilton
The strong national voice at Abramtsevo, based on a sense of harmony among native landscapes, religious and folk life, and estate culture was intrinsic to Slavic revival movements of the late nineteenth century. The estate and its surroundings were settings for Russian-themed paintings and inspired artists to seek and express a Russian “spirit of nature.” The search for a national landscape was connected with literary and intellectual culture fostered at Abramtsevo and neighboring estates, and with the presence of religious centers in the area. Local topography and collaboration among the Abramtsevo artists in the 1880s led to new ideas about a national landscape as artists ranged further afield in the next decade. Landscapes of mood and decorative works based on natural forms shifted the role of landscape from concrete subject to a source for formal experimentation.
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Pub Date : 2019-09-30DOI: 10.1163/2211730x-12341325
S. Mamontov, - -
This text is an extract from the “Chronicle of the Abramtsevo Estate,” a collective diary that details the daily functioning of the estate, as well as the special events, projects, and artistic activities that were held there by Savva Mamontov and his associates from 1870 until 1893. It thus provides a unique glimpse into both the personal and professional lives of one of Russia’s most important and influential artistic colonies.
{"title":"“The Spirit of Old Aksakov … Added to the Charm”","authors":"S. Mamontov, - -","doi":"10.1163/2211730x-12341325","DOIUrl":"https://doi.org/10.1163/2211730x-12341325","url":null,"abstract":"\u0000This text is an extract from the “Chronicle of the Abramtsevo Estate,” a collective diary that details the daily functioning of the estate, as well as the special events, projects, and artistic activities that were held there by Savva Mamontov and his associates from 1870 until 1893. It thus provides a unique glimpse into both the personal and professional lives of one of Russia’s most important and influential artistic colonies.","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-12341325","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43637998","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-12341347
Nathanaëlle Tressol
This article focuses on the French reception of Russian Arts and Crafts in the early 1900s. As a consequence, firstly, of the Russian display at the 1900 “Exposition Universelle,” and, secondly, of the increasing number of Russian exhibitions and other cultural events in Paris, French art periodicals and sections on art in the mainstream press contained many reports about the movement. Several writers expressed their opinion about Russian modern Arts and Crafts and participated in their promotion in France. The main purpose of the article is to shed light on those French critics who were responsible for this process of mediation and the way in which their discourses adopted a comprehensive approach to Russian Arts and Crafts experiments. It examines which artists and which exhibitions were particularly welcomed in around 1906; special attention is paid to Abramtsevo and Talashkino, and, therefore, to Maria Tenisheva.
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Pub Date : 2019-09-30DOI: 10.1163/2211730x-12341342
L. Tonini
The presence of thirty-three Russian head-dresses, as well as other historical objects, in the collection of the American diplomat, George Wurts, and his wife, Henrietta Tower, is an uncommon example of collecting Russian folk objects abroad, and testifies to a universality of taste in international collecting during the late nineteenth century. The head-dress collection is part of a larger collection of around 4,000 pieces dating from antiquity to the early twentieth century, which was assembled at the Palazzo Antici Mattei and the Villa Sciarra in Rome between the end of the nineteenth and the beginning of the twentieth century. Wurts and Tower had a particular interest in arts and crafts, which was enabled by Wurts’s career as a diplomat and secretary at the American mission in St. Petersburg for a period of ten years (1882-93). This article describes the key characteristics of the Wurts-Tower collection of folk objects, the circumstances of its formation, and its relation to the tendencies of taste during that time. It also testifies to the transformation of the kokoshnik in the eyes of collectors and viewers from a popular costume to a fashion accessory that was linked to a past world.
{"title":"Russia in Rome","authors":"L. Tonini","doi":"10.1163/2211730x-12341342","DOIUrl":"https://doi.org/10.1163/2211730x-12341342","url":null,"abstract":"\u0000The presence of thirty-three Russian head-dresses, as well as other historical objects, in the collection of the American diplomat, George Wurts, and his wife, Henrietta Tower, is an uncommon example of collecting Russian folk objects abroad, and testifies to a universality of taste in international collecting during the late nineteenth century. The head-dress collection is part of a larger collection of around 4,000 pieces dating from antiquity to the early twentieth century, which was assembled at the Palazzo Antici Mattei and the Villa Sciarra in Rome between the end of the nineteenth and the beginning of the twentieth century. Wurts and Tower had a particular interest in arts and crafts, which was enabled by Wurts’s career as a diplomat and secretary at the American mission in St. Petersburg for a period of ten years (1882-93).\u0000This article describes the key characteristics of the Wurts-Tower collection of folk objects, the circumstances of its formation, and its relation to the tendencies of taste during that time. It also testifies to the transformation of the kokoshnik in the eyes of collectors and viewers from a popular costume to a fashion accessory that was linked to a past world.","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-12341342","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41668142","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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