The Russian Experiment in Art 1863-1922 (Revised Edition) (World of Art)

The Russian Experiment in Art 1863-1922 (Revised Edition) (World of Art)

Language: English

Pages: 324

ISBN: 0500202079

Format: PDF / Kindle (mobi) / ePub

"Not only an indispensable contribution to the study of modern art, but also an illuminating study of modern Russia." ―Hilton Kramer, The Nation

When the original edition of this book was published, John Russell hailed it as "a massive contribution to our knowledge of one of the most fascinating and mysterious episodes in the history of modern art." It still remains the most compact, accurate and reasonably priced survey of sixty years of creative dynamic activity that profoundly influenced the progress of Western art and architecture. 256 illustrations, 21 in color

The Merleau-Ponty Dictionary (Bloomsbury Philosophy Dictionaries)

Foucault for Architects

Estética de la música (La balsa de la Medusa, Volume 116)

The Man Without Content

Œuvres complètes, tome 2 : Ecrits posthumes 1922-1940

Experimental Cinema in the Age of Binary Data: The Digital Alternative to the Celluloid Image





















slave for his debut, and a pas de trois was inserted for him with Fokine and Anna Pavlova. Such was the first and only ballet production of the 'World of Art' to be seen in the Mariinsky Theatre. The success of this venture inspired the idea of taking a season of Russian opera and ballet to Paris. Having introduced Western ideas into Russia, they were now ready to complete the exchange by introducing the new the ballet. This . Russian art to the West. with the end of the magazine and the

distinguished two main directions in the 'World of Art' that of Petersburg (line) and that of Moscow (colour). In both cases their most important work was done in the theatre, and the influence of 'theatrical' devices is paramount in the pictorial revolution which they continued. To take the Petersburg school first: this was headed by Benois, and the chief innovation in pictorial composition was in finding new ways of rendering space without relying on perspective. Many of the devices were

and this again recalls however, the water is seldom a still lake or pond, and there is often the hint of a hidden source of light about to break through and flood the scene. Thus in Sudeikin's Venice, floating figures glide along the water's surface, their faces drugged and withdrawn, but behind them rises a splendid sight of great trees through which light is gently breaking, hinting, like the windows of a Gothic cathedral, at infinite light and space beyond. Utkin also allows the rhythms of

together they began to devote themselves to poetry, both of them trying to year (1909) that the Larionov's example, began working in a style incorporate the previous years' experience as painters.) 113 Ills 76, 77 autumn of 1908 the Burliuks went to visit Alexandra Exter Here they organized another exhibition - in the street - which was a great success. It was almost identical with the one they had organized together in Petersburg earlier in the year, although a few of the recent works

school of landscape painting produced a really creative and expressive master. Polenov's contribution to the Abramtsevo colony, however, was not primarily as a painter, but rather as an archaeologist and teacher. In the Moscow College, where he was appointed a professor in 1882, his liberal influence and forceful personality encouraged such painters as Levitan and Korovin, both of whom he was responsible for introducing to the Abramtsevo colony as theatrical designers in the 1880s. During the

Download sample