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This provides the background to more that 500 years of Russian and Soviet art and artists with over 5,000 individual entries. The book also gives access to important information hitherto available mostly in Russian and should be a useful reference for scholars and collectors.
Monika Kopplin highlights the extraordinary variety of decorative techniques as well as the many stylistic features. The history and art history of Russia are reflected in the small format of the lacquer miniatures, painting a lively picture of the various eras. A comprehensive index of seals expands the catalogue into a reference book. Russian lacquer art can be traced back to Peter the Great, who had come to know this flourishing art and craft during his study trips in Western Europe. The first important work in this genre in the tsar's empire was completed in 1722 in the form of the Lacquer Study in his palace of Monplaisir. A second significant event followed when the Korobov workshop, which was modelled on the Braunschweig-based Stobwasser workshop, was established in 1793 near Moscow. It is better known by the name of a later owner, Lukutin. A technical and artistic alignment with the German model was followed by an increasingly independent Russian development from the 1820s onwards. At first this found expression in specific decorative techniques, and later also in specifically Russian motifs.
"from the collection of the Moscow State Integrated Museum-Reserve at Kolomenskoye."
The author discusses how Russian art has evolved from icon painting through to Socialist Realism. He examines the work of approximately 50 contemporary artists, all of whom are living and working in the Soviet Union and conveys a general view of life in the USSR.
The British Library holds an extensive collection of Russian avant-garde books of the early twentieth century and an expanding collection of Russian artists' books from the late 1960s to the present. Although all are included in the Library's catalogues these often contain no reference to the books' designers and many masterpieces have only recently come to light.The first edition of this catalogue provided direct access to a collection that embraces two major Russian artistic movements, futurism and constructivism. It has since become a standard reference tool for libraries, booksellers and researchers in the identification of twentieth-century Russian avant-garde books. With nearly 400 additional entries, the second edition includes supplements of newly identified and recently acquired items in the collections, together with revised author/artist and title indexes. It also includes a selection of black and white illustrations and English translations of titles for researchers who do not read Russian.
A major resource, collecting essays, articles, manifestos, and works of art by Russian artists and critics in the early twentieth century, available again at the 100th anniversary of the Russian Revolution
In 1911 Vasily Kandinsky published the first edition of ‘On the Spiritual in Art’, a landmark modernist treatise in which he sought to reframe the meaning of art and the true role of the artist. For many artists of late Imperial Russia – a culture deeply influenced by the regime’s adoption of Byzantine Orthodoxy centuries before – questions of religion and spirituality were of paramount importance. As artists and the wider art community experimented with new ideas and interpretations at the dawn of the twentieth century, their relationship with ‘the spiritual’ – broadly defined – was inextricably linked to their roles as pioneers of modernism. This diverse collection of essays introduces new and stimulating approaches to the ongoing debate as to how Russian artistic modernism engaged with questions of spirituality in the late nineteenth to mid-twentieth centuries. Ten chapters from emerging and established voices offer new perspectives on Kandinsky and other familiar names, such as Kazimir Malevich, Mikhail Larionov, and Natalia Goncharova, and introduce less well-known figures, such as the Georgian artists Ucha Japaridze and Lado Gudiashvili, and the craftswoman and art promoter Aleksandra Pogosskaia. Prefaced by a lively and informative introduction by Louise Hardiman and Nicola Kozicharow that sets these perspectives in their historical and critical context, Modernism and the Spiritual in Russian Art: New Perspectives enriches our understanding of the modernist period and breaks new ground in its re-examination of the role of religion and spirituality in the visual arts in late Imperial Russia. Of interest to historians and enthusiasts of Russian art, culture, and religion, and those of international modernism and the avant-garde, it offers innovative readings of a history only partially explored, revealing uncharted corners and challenging long-held assumptions.