Pub Date : 2019-12-23DOI: 10.1163/18763316-04604005
Allison Leigh
This essay explores the circumstances which led the Russian painter Vasilii Maksimov to compose an unusual group portrait in the early months of 1864. The work was painted shortly after fourteen students withdrew from the Imperial Academy of Arts in St. Petersburg and formed a cooperative association known as the St. Petersburg Artel of Artists, a commune spearheaded by the painter Ivan Kramskoi. Shortly after these events, Maksimov would join an Artel of artists established by the Academy graduate Pёtr Krestonostsev. Few scholars discuss this Artel but exploring the ways it mirrored collective ideals for artistic practice then prevalent in Paris sheds light on how homosocial networks of support rose to the fore in this historical moment. Maksimov’s 1864 group portrait records the productive conflict that resulted from artists’ desire to work with one another through discourse and collaboration in both eastern and western Europe in the period.
这篇文章探讨了导致俄罗斯画家瓦西里·马克西莫夫在1864年初创作一幅不寻常的群像的情况。这幅画是在14名学生从圣彼得堡的帝国艺术学院(Imperial Academy of Arts)退学后不久完成的，他们组建了一个名为圣彼得堡艺术家协会(St. Petersburg Artel of Artists)的合作协会，由画家伊万·克拉姆斯科伊(Ivan Kramskoi)领导。在这些事件发生后不久，马克西莫夫将加入由学院毕业生Pёtr Krestonostsev建立的艺术家协会。很少有学者讨论这个Artel，但探索它反映当时在巴黎盛行的艺术实践的集体理想的方式，揭示了在这个历史时刻，支持同性恋的社会网络是如何脱颖而出的。马克西莫夫1864年的集体肖像记录了当时东欧和西欧艺术家通过话语和合作彼此合作的愿望所产生的富有成效的冲突。
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Pub Date : 2019-12-23DOI: 10.1163/18763316-04604002
A. Hilton
Folk art revivals were incubators for modernist movements in painting, sculpture, architecture, applied arts, and performing arts. The upsurge of national sentiment in late Imperial Russia and official economic support of handicraft industries (known as kustar’) promoted the marketing of wood crafts and textiles made at Abramtsevo, Talashkino, and other centers in western Russia and Ukraine. Parallel developments drew upon both folk traditions and patriotic ideals in the central and eastern European countries that had suffered territorial encroachments by Russia, Prussia, and the Austro-Hungarian Empire. Artists’ groups and art colonies showed special respect for regional landscapes, peasant communities, and local artistic traditions. Their activities reflected nationalist ideologies, as well as practical, economic, and philanthropic concerns. The variety of circumstances and motivations sheds light on the phenomena of art colonies, new valuations of applied art forms, and the enduring importance of education in traditional crafts.
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Pub Date : 2019-12-23DOI: 10.1163/18763316-04604006
Isabel Wünsche
This essay looks at art education in Russia in the nineteenth century, specifically at artist-training practices at institutions such as the Imperial Academy of Fine Arts and the Imperial Society for the Encouragements of the Arts in St. Petersburg. Particular emphasis is on the role and significance of Pavel Chistiakov and Jan Ciągliński, charismatic teachers who developed their distinct art-pedagogical systems as an alternative to the existing academic system and paved the way for the emergence of modern art and the avant-garde in Russia.
{"title":"Pavel Chistiakov and Jan Ciągliński: New Approaches to Art Pedagogy in Nineteenth- and Early Twentieth-Century Russia","authors":"Isabel Wünsche","doi":"10.1163/18763316-04604006","DOIUrl":"https://doi.org/10.1163/18763316-04604006","url":null,"abstract":"\u0000This essay looks at art education in Russia in the nineteenth century, specifically at artist-training practices at institutions such as the Imperial Academy of Fine Arts and the Imperial Society for the Encouragements of the Arts in St. Petersburg. Particular emphasis is on the role and significance of Pavel Chistiakov and Jan Ciągliński, charismatic teachers who developed their distinct art-pedagogical systems as an alternative to the existing academic system and paved the way for the emergence of modern art and the avant-garde in Russia.","PeriodicalId":43441,"journal":{"name":"RUSSIAN HISTORY-HISTOIRE RUSSE","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/18763316-04604006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42427268","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-23DOI: 10.1163/18763316-04604003
K. Andrea Rusnock
Vladimir Stasov, well-known as a champion of Russian art and music, proved equally forceful as an advocate for Russian needlework. Yet this key component of his scholarship has been relegated to secondary status; remedying this neglect is the aim of this article. Stasov’s well-known publication, Russkii narodnyi ornament (1872), has traditionally been discussed as a treatise on ornament, however its main emphasis was needlework and it needs to be analyzed as such. Further, Stasov influenced others to take up the cause of Russian national needle art, in particular Sofia Davydova whose tome on Russian lace, Russkoe kruzhevo i russkie kruzhevnitsy (1886), made a major contribution to Russian art and culture. Stasov’s scholarship and promotion of needlework needs to be thoroughly understood in order to have a more complete understanding of Russian material culture and this article is a starting point toward that goal.
弗拉基米尔·斯塔索夫（Vladimir Stasov）是俄罗斯艺术和音乐的冠军，事实证明，他也是俄罗斯刺绣的倡导者。然而，他学术的这一关键组成部分却被降级为次要地位；纠正这种疏忽是本文的目的。斯塔索夫的著名出版物《Russkii-narodnyi装饰》（1872）传统上被认为是一篇关于装饰的论文，但其主要重点是刺绣，需要对此进行分析。此外，斯塔索夫还影响了其他人投身于俄罗斯民族针艺事业，尤其是索菲亚·达维多瓦，她的俄罗斯花边大部头著作《Russkoe kruzhevo i russkie kruzhevnitsy》（1886年）对俄罗斯艺术和文化做出了重大贡献。为了更全面地了解俄罗斯的物质文化，需要深入了解斯塔索夫对针线活的研究和推广，本文就是实现这一目标的起点。
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Pub Date : 2019-12-23DOI: 10.30965/18763316-04604003
K. A. Rusnock
Vladimir Stasov, well-known as a champion of Russian art and music, proved equally forceful as an advocate for Russian needlework. Yet this key component of his scholarship has been relegated to secondary status; remedying this neglect is the aim of this article. Stasov’s well-known publication, Russkii narodnyi ornament (1872), has traditionally been discussed as a treatise on ornament, however its main emphasis was needlework and it needs to be analyzed as such. Further, Stasov influenced others to take up the cause of Russian national needle art, in particular Sofia Davydova whose tome on Russian lace, Russkoe kruzhevo i russkie kruzhevnitsy (1886), made a major contribution to Russian art and culture. Stasov’s scholarship and promotion of needlework needs to be thoroughly understood in order to have a more complete understanding of Russian material culture and this article is a starting point toward that goal
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Pub Date : 2019-08-27DOI: 10.1163/18763316-04602005
D. Ostrowski
This article is a response to four responses to my book Europe, Byzantium, and the “Intellectual Silence” of Rus’. That book in turn responded to the question posed by Francis Thompson, “Where was the Russian Peter Abelard?” It began with two premises − that theology was “the crown jewel of disciplined thought” in both the Eastern and Western Churches during the medieval period and that medieval Christian theology represented an amalgamation of prior Christian thought with Neoplatonism. The literature of early Rus’ was little more than what would have been contained in a large Byzantine monastic library, because those in charge of educating the newly baptized pagan Rus’ on the basic principles of Christianity felt compelled to provide them only necessary information to save their souls. But why did the package not include the seven liberal arts (including dialectic), which were the basis of the Western Church curriculum?
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Pub Date : 2019-08-27DOI: 10.1163/18763316-04602006
D. Prestel
This essay addresses the long-standing and much-discussed question of the intellectual silence of Rus’ culture, which was first formally posed by Georges Florovsky in a 1962 forum published in the Slavic Review. Initially viewing the issue within the context of Donald Ostrowski ‘s recent book, Europe, Byzantium, and the “Intellectual Silence” of Rus’ Culture (2018), the study contends that in contrast to the practice of theology in Byzantium and the West, Rus’ theology, as Gerhard Podskalsky maintained, is not expressed through traditional theological disciplines but assumes a decidedly pragmatic function that is best served by narration, exhortation, and admonition. The analysis leads to the conclusion that questions concerning the absence of intellectual developments of the medieval West are not helpful in the study of Rus’ culture, as they can obstruct a more productive approach that focuses on Rus’ narrative sources. A brief example illustrating the direction such an approach might take is provided.
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Pub Date : 2019-08-27DOI: 10.1163/18763316-04602007
R. Romanchuk
This survey of intellectual endeavor in medieval Slavia orthodoxa proposes a different way to think through the problem of the “intellectual silence of Old Rus′,” first set forth by Georges Florovsky and explored by George Fedotov, Francis Thomson, Simon Franklin, and now Donald Ostrowski. It examines the resources and opportunities for secondary schooling and their apparent outcomes in Kyivan Rus′ from the eleventh through the thirteenth century, among South Slavs on Mount Athos in the later fourteenth century, and at the Kirillo-Belozerskii (Kirillov) Monastery in northern Russia in the later fifteenth century. It concludes that intellectual endeavor is not necessarily bound to an international language of scholarship (e.g., Greek), one the one hand, or to a particular religious mentalité (e.g., that of the Western Church), on the other. Rather, it is cultivated by “schematizing” (educational) institutions oriented upon academic (heuristic) interpretive strategies and—most importantly—supported by textbooks and teachers.
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Pub Date : 2019-08-27DOI: 10.1163/18763316-04602004
S. Ivanov
The critique of Francis Thomson constitutes only part of Ostrowski’s book. The other part, completely unrelated to the first one, is dedicated to a comparison of the intellectual development of the two halves of the Christian world in the Middle Ages. Ostrowski’s assertion that the Byzantines did not include logic in their school curriculum is untrue. What seems to him to be the main difference between East and West does not take root until the end of the 12th century. The West was drifting away from the common patterns of ancient Mediterranean civilization. The East largely remained the same. The Byzantines did not feel any special inclination toward the practical application of theoretical ideas. The people of Old Rus’, on the contrary, were quick at learning and innovating. Respect for tradition inevitably played a smaller role in a nascent culture than in a culture that had been born old.
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