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Surveys Russian silver production, its changing forms, styles, imagery and techniques over more than 250 years.
"Traces the history of Russian silver from before 1700 to 1917, following its fate in the 1920s and 1930s, when much of it was sold to American collectors and is now found in many public museums"--Provided by publisher.
Buy a pair of Levi’s, lose the Russian accent, become an American… how hard could it be? Moscow, 1988. After years of antisemitic harassment, countless hours waiting in line for toilet paper, and having zero access to cool jeans, Margarita decides it’s time to get the hell out of the Soviet Union. While dreaming of buying the boat-sized Buick she’d seen in a pirated VHS of Miami Vice and getting a taste of whatever it is Bruce Springsteen is singing about, she comes up with a plan to escape Mother Russia for good. When Margarita arrives in the US with her family, she has one objective – become fully American as soon as possible, and leave her Soviet past behind. But she soon learns that finding her new voice is harder than avoiding the KGB. Because, how do you become someone else completely? Is it as simple as changing your name, upgrading your wardrobe and working on your pronunciation of the word ‘sheet’? Can you let go of old habits (never, ever throw anything away), or learn to date without hang-ups (‘there is no sex in the Soviet Union’ after all)? Will you ever stop disappointing your parents, who expect you to become a doctor, a lawyer, an investment banker and a classical pianist – all at the same time? And can you still become the person you dreamed you’d be, while learning to embrace parts of yourself you’ve wanted to discard for good when you immigrated? Absolutely hilarious, painfully honest and sometimes heart-breaking, the award-winning I Named My Dog Pushkin will have fans of David Sedaris and Samantha Irby howling with laughter at Margarita’s failures, her victories and the life lessons she learns as she grows as both a woman and an immigrant, in a world that often doesn’t appreciate either. What readers are saying about I Named My Dog Pushkin: ‘Hilariously funny, whip-smart and absolutely fascinating… Silver shows that the only person she needs to ever become is herself. Just amazing.’ Caroline Leavitt, New York Times bestselling author of Pictures of You and With or Without You ‘Laugh-out-loud funny... a particular pleasure to see our splintered country through the eyes of this determined and appreciative emigree.’ NPR Books ‘An eye-opener… a whole other brand of Jewish humor… The book's wit, drama and erudition appear to me wholly miraculous. Margarita deserves a literary prize.’ Alicia Bay Laurel, New York Times bestselling author of Living on the Earth ‘Hysterically funny and thought-provoking… perfect for anyone fascinated with the USSR’ FangirlNation ‘I thoroughly enjoyed Margarita's witty and acerbic voice. This book was a delight!’ Jen Mann, New York Times bestselling author of People I Want to Punch in the Throat ‘Hilarious… From one USSR immigrant to another... I related a lot.’ Margarita Levieva, HBO's The Deuce ‘Hilarious and thought-provoking.’ California Bookwatch ‘A memoir like this is so very rare, one in which you learn a great deal, while laughing throughout. Highly, highly recommended.’ Wandering Educators ‘Plunges the reader into a world in which Coca-Cola is synonymous with freedom… riveting… moving… Gokun Silver is a gifted, witty writer.’ Los Angeles Review of Books ‘Sure to delight while tugging at your heartstrings.’ Jewish Book Council ‘Had me laughing and smiling all the way through… a perfect balance of wit and seriousness… Superb.’ Goodreads reviewer ‘Laughed my socks off!’ Goodreads reviewer ‘I loved this book so much… I just could not stop reading.’ NetGalley reviewer ‘A sharp, witty memoir… Margarita captured Jewish joy and grief together perfectly.’ Goodreads reviewer ‘Darkly funny… reminiscent of other acerbic comedian authors like Sara Barron… fascinating.’ NetGalley reviewer
This volume explores the history and development of the American silver industry. It chronicles the work of firms such as Tiffany, Gorham, Meridan Britannia, and Reed and Barton, along with that of makers such as Whiting, Wendt, Wood and Hughs, Scheibler, and Gale.
Billington describes the contentious discussion occurring all over Russia and across the political spectrum. He finds conflicts raging among individuals as much as between organized groups and finds a deep underlying tension between the Russians' attempts to legitimize their new, nominally democratic identity, and their efforts to craft a new version of their old authoritarian tradition. After showing how the problem of Russian identity was framed in the past, Billington asks whether Russians will now look more to the West for a place in the common European home, or to the East for a new, Eurasian identity.
If you were an independent, adventurous, liberated American woman in the 1920s or 1930s where might you have sought escape from the constraints and compromises of bourgeois living? Paris and the Left Bank quickly come to mind. But would you have ever thought of Russia and the wilds of Siberia? This choice was not as unusual as it seems now. As Julia L. Mickenberg uncovers in American Girls in Red Russia, there is a forgotten counterpoint to the story of the Lost Generation: beginning in the late nineteenth century, Russian revolutionary ideology attracted many women, including suffragists, reformers, educators, journalists, and artists, as well as curious travelers. Some were famous, like Isadora Duncan or Lillian Hellman; some were committed radicals, though more were just intrigued by the “Soviet experiment.” But all came to Russia in search of social arrangements that would be more equitable, just, and satisfying. And most in the end were disillusioned, some by the mundane realities, others by horrifying truths. Mickenberg reveals the complex motives that drew American women to Russia as they sought models for a revolutionary new era in which women would be not merely independent of men, but also equal builders of a new society. Soviet women, after all, earned the right to vote in 1917, and they also had abortion rights, property rights, the right to divorce, maternity benefits, and state-supported childcare. Even women from Soviet national minorities—many recently unveiled—became public figures, as African American and Jewish women noted. Yet as Mickenberg’s collective biography shows, Russia turned out to be as much a grim commune as a utopia of freedom, replete with economic, social, and sexual inequities. American Girls in Red Russia recounts the experiences of women who saved starving children from the Russian famine, worked on rural communes in Siberia, wrote for Moscow or New York newspapers, or performed on Soviet stages. Mickenberg finally tells these forgotten stories, full of hope and grave disappointments.
This study, the first of its kind in English, examines Russian responses to the independence movement in Latin America during the early nineteenth century. From a strictly presentist perspective, the investigation of this subject contributes to the historiography of colonialism and of Latin America's relations with the major world powers. In addition, it rounds out the story of foreign interests in the emancipation of Spanish and Portuguese America, while at the same time shedding new light on the history of Russian overseas expansion. The study probes the major determinants of Russian responses to the struggle for independence of colonial Latin America and evaluates, from a European perspective, the actual impact of tsarist policy on the course of those historic events. Drawing on a wide range of printed materials and on hitherto unused manuscript sources from the archives and libraries of Spain, Portugal, Brazil, and the USSR, it isolates Russian New World objectives during the first decades of the nineteenth century and relates those objectives to the formulation of tsarist policy toward the insurgent Iberian colonies.
From 1741 until Alaska was sold to the United States in 1867, the Russian empire claimed territory and peoples in North America. In this book, Ilya Vinkovetsky examines how Russia governed its only overseas colony, illustrating how the colony fit into and diverged from the structures developed in the otherwise contiguous Russian empire. Russian America was effectively transformed from a remote extension of Russia's Siberian frontier penetrated mainly by Siberianized Russians into an ostensibly modern overseas colony operated by Europeanized Russians. Under the rule of the Russian-American Company, the colony was governed on different terms than the rest of the empire, a hybrid of elements carried over from Siberia and imported from rival colonial systems. Its economic, labor, and social organization reflected Russian hopes for Alaska, as well as the numerous limitations, such as its vast territory and pressures from its multiethnic residents, it imposed. This approach was particularly evident in Russian strategies to convert the indigenous peoples of Russian America into loyal subjects of the Russian Empire. Vinkovetsky looks closely at Russian efforts to acculturate the native peoples, including attempts to predispose them to be more open to the Russian political and cultural influence through trade and Russian Orthodox Christianity. Bringing together the history of Russia, the history of colonialism, and the history of contact between native peoples and Europeans on the American frontier, this work highlights how the overseas colony revealed the Russian Empire's adaptability to models of colonialism.
In this stunning catalog, Wees, curator of decorative arts at the Clark Art Institute, shares her extensive knowledge of silver. Robert Sterling Clark, who established the Art Institute in 1955, preferred Huguenot silver? especially that of Paul de Lamerie? so his collection, which contains typical objects from the early 16th to the mid-20th centuries, is especially rich in 18th-century examples. Wees arranges this collection according to general function ("Dining," "Lighting," etc.) and prefaces each chapter with exhaustively footnoted essays. She accompanies each item with crisp black-and-white photographs, a wealth of description, and helpful commentary. Analogous to Kathryn Buhler's standard catalog of American silver in Boston's Museum of Fine Arts, this is a wonderful tool for researching makers and hallmarks, comparing stylistic elements, or just marveling at the beauty of an extraordinary collection. While not intended to be a historical compendium, this informative, visual feast belongs in all silver reference collections and will also certainly appeal to individual collectors. 19 colour & 1,222 b/w illustrations