Relevant bibliographies by topics / Russia in art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Russia in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 January 2023

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Journal articles on the topic "Russia in art"

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Beriger, Julian-Ivan. "Die staatliche Blockierung des Zugangs zu Internetinhalten in Russland – Eine Analyse aus verfassungsrechtlicher Sicht." osteuropa recht 65, no. 1 (2019): 5–36. http://dx.doi.org/10.5771/0030-6444-2019-1-5.

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Since 2012, the legal possibilities for state blocking of web content in Russia have been largely expanded by amendments to the Federal Information Act (Art. 15.1.-15.8. Federal law of 27 July 2006 No. 149-FZ). Therefore, Internet censorship has been steadily growing in Russia over the last years. From a constitutional point of view, the “ordinary procedure” in Art. 15.1. InfoG and the “express block” in Art. 15.3. InfoG are the most important state blocking procedures. While in the “ordinary procedure” the owner of the website is given the opportunity to voluntarily delete the offending information, the “express block” suggests immediate blocking of the relevant websites by order of the Attorney General of the Russian Federation. The state blocking of online content affects the right to information and communication and the freedom of expression, guaranteed in Art. 29 of the Russian Constitution (Art. 10 ECHR and Art. 19 ICCPR). The current blocking practice of the Russian authorities does not meet the requirement of “proportionality“ of state action, which is stated by Art. 55 (3) of the Russian Constitution (Art. 10 (2) ECHR and Art. 19 (2) ICCPR). Legal regulation of the internet is expected to continue growing in Russia due to the various legislative initiatives in this field.
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Shkurko, Alla. "Medallic Art in Russia XVIII c." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 80–99. http://dx.doi.org/10.36340/2071-6818-2020-16-1-80-99.

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Summary: The article is dedicated to the history of medalic art of Russia since the time of its appearance at the boundary 17–18 cc. and its further developing as a definite kind of art in the course of the century. In 1701 a new Mint began its work in Moscow in Kadashev sloboda. For some period of time it was the main Mint issuing coins and medals. Among the engravers working there the first place belongs to Fedor Alekseev who was the leading medalist since 1701. Afterwards the leading initiative was given to foreign masters who had come to work for Russia. The first foreign medalists working on Russian services were Frenchman Solomon Gouin and Saxon G. Haupt. During the whole part of the first quarter of 18 c. Russian medalic works were signed by foreign craftsmen. The series of medals in memory of the North war performed by the German medalist Ph.G. Mueller and left a noticeable trace in the development of Russian medalic art. Medals of the first quarter of 18 c. reflected the successful events of Russia in the North war most fully but very few medals were devoted to the home life of the country. Medals of the first quarter of 18 c. served as the firm foundation for further development of the Russian medalic art. In 30–40s years the leading place at the Russian Mints was occupied by foreign medalists. Chief medalist was Dane Anton Shultz who was engaged not only in cutting dies but also taught Russian masters. The main service of I.G. Waechter rendered to the Russian medalic art consists in the further widening of artistic possibilities of medals. Virtuosity of ability to use technique, the accuracy in the gradation of the relief, fine feeling of light and shade allowed the artist to create such pictorial relief that is always connected with his name in the Russian medalic art. Together with the artists already spoken about, Russian masters work professionally too. The creative work of two medalists Tymophey Ivanov and Samoilo Yudin is very important. The circle of Russian medalists of 18 c. is completed by Karl Leberecht. By his creative work he realized the transition to a new period of medalic art – classicism. In the first half of the 18 c. medals immortalized a small number of important events and ruling monarchs, but in the second half of the century the medallic art began to aspire to reflect the events in many fields of historical life of Russia much wider. This tendency became stronger in the 19 c. when medals issue increased.
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Blakesley, Rosalind P. "Art, Nationhood, and Display: Zinaida Volkonskaia and Russia's Quest for a National Museum of Art." Slavic Review 67, no. 4 (2008): 912–33. http://dx.doi.org/10.2307/27653031.

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In 1831, the journal Teleskop published Princess Zinaida Volkonskaia's proposal for a national art museum in Moscow. Volkonskaia's project was progressive to a degree (Russia had no such museum at the time), yet the model she proposed was highly traditional. She excluded Russian art entirely, despite her support of modern Russian artists. Instead, Volkonskaia privileged classical and more recent western European art, underlining the deference to western practice that influenced cultural politics even as Russia moved toward a stronger national sense of self. Volkonskaia's project marks an important juncture in Russia's cultural history: the intersection of aristocratic female patronage and the institutionalization of academic procedure. It also provides a platform from which to consider Russia's self-image vis-à-vis Europe in the aftermath of the Napoleonic campaigns. By tracing an intricate dialogue in which national pride developed alongside continuing admiration for neoclassical ideals, Rosalind P. Blakesley addresses the paradoxes of Volkonskaia's project, and the difficulties of conceptualizing a “national” space of artistic display. Volkonskaia's project poses significant interpretive problems and her exclusion of Russian art prefigures the segregation of Russian and western art in Russian museums today, which has marginalized Russian art even within Russia itself. Volkonskaia's project thus has wide resonance, for the question of whether and how museums encapsulate national cultural identities remains an issue of great intellectual concern.
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조규연. "Mayakovsky and Russian Futurism: Art of Revolution, Revolution of Art." Russian Language and Literature ll, no. 58 (August 2017): 7–36. http://dx.doi.org/10.24066/russia.2017..58.001.

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Giuliani, Rita. "About the Utility of Russian Literature Outside of Russia." Проблемы исторической поэтики 18, no. 3 (July 2020): 290–300. http://dx.doi.org/10.15393/j9.art.2020.8262.

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<p>This article analyzes the excellence, uniqueness and specific elements of Russian literature that make it valuable in the eyes of a Western reader, helping him or her to better understand Russia and enrich his or her spiritual dimension. There are many such elements, and while I cannot touch on all of them, I would like to remind the reader of the fact that Russian literature has always been that particular point where social, humanitarian, political and philosophical thought comes together. Russian literature also sheds light on the mindset of the Russian people (<em>narod</em>), offering a different perspective to a Western reader. In addition, Russian literature, with its cultural &lsquo;explosions&rsquo; (<em>vzryvy</em>) and the writers who embodied these explosions, greatly influenced European literature, inspiring entire generations of readers and writers. What turned out to be most unique in Russian literature was a perpetual attention to the great questions of human existence, the so-called &ldquo;damned questions&rdquo; (<em>proklyatye voprosy</em>). But Russian literature has an additional quality, starting from that moment when its hero became the human soul. It is precisely the soul, the protagonist of Russian literature, which unites Russian writers in a unique and inimitable community, and their readers and admirers&nbsp;&mdash; in a community moved and grateful. Ultimately, Dostoevsky&nbsp;&mdash; probably the most beloved Russian writer in the West&nbsp;&mdash; was right when he asserted in his well-known Pushkin speech, &ldquo;the capacity for universal compassion (<em>otzyvchivost&rsquo;</em>) is the most important quality of our national character&rdquo;.</p>
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Bolotyan, Ilmira. "About feminist art in Russia." nauka.me, no. 2 (2019): 0. http://dx.doi.org/10.18254/s241328880008079-0.

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Musatova, Tatyana. "Nicholas I in Florence (1845). The Artistic Aspect of the Visit." Stephanos Peer reviewed multilanguage scientific journal 53, no. 3 (May 31, 2022): 64–86. http://dx.doi.org/10.24249/2309-9917-2022-53-3-64-86.

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The article analyzes the previously insufficiently researched art program of Nicholas I in Florence. That is – the study of the museum fund of Italian and European paintings, orders of art copies within the framework of the general state policy of copying similar to the policy of France and Italy, replenishment of the museum fund of St. Petersburg and Russia. Based on documents kept in domestic and foreign archives, modern literature of art historians in Russia and Italy, the author draws attention to the “pitfalls” of the classical art market in Italy, which the Russian monarch faced. His artistic preferences are also analyzed; his contribution to the formation of the museum fund of St. Petersburg and Russia is assessed. The features of the “Russian approach” to copying are revealed, which acquire relevance and practical significance during the pandemic crisis and modern technologies.
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Nikulina, Viktoriya Vladimirovna. "“French element” in the Russian art culture of the mid XVIII century." Философия и культура, no. 1 (January 2022): 36–44. http://dx.doi.org/10.7256/2454-0757.2022.1.37370.

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The subject of this research is the reflection of Russian realities of the mid XVIII century in cultural sphere. The article touches upon the problem of cross-cultural communication between Russia and France in the XVIII century: the theme of &ldquo;French presence&rdquo; in the Russian art and theater culture of the first half and the middle of the XVIII century. The acquired results elucidate the characteristic features of the relations between French and Russian people during this period. The research was conducted with consideration of the unity of internal and external, subjective and objective factors within the framework of the cultural-historical process. The conclusions were made leaning on the analysis of the entire range of sources use and existing research traditions. The article reveals the contribution of the French representatives of art and culture while their stay in Russia, as well as describes the forms and manifestations of their activity that in prospect affected the image of Russia. The author believes that working at the Russian Court, the French representatives imposed the vision of their country on Russia, transforming the Russian images in the French spirit. The presented materials are valuable for the study of cross-cultural communication between Russia and France in the XVIII century. This article is important and relevant in the conditions of constantly developing cultural dialogue and determination of the new vectors of cooperation between the countries.
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Davydova, Olga. "“Dreaming of Russia”." Experiment 25, no. 1 (September 30, 2019): 189–206. http://dx.doi.org/10.1163/2211730x-12341338.

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Abstract The National-Romantic trend in Russian Art Nouveau is characterized by a lyrical approach to the past, including imagery from folklore. This tendency is also identifiable within the global development of Art Nouveau, each country expressing its national identity in highly characteristic forms in design and architecture. Art Nouveau coincided with the zenith of Symbolism and, therefore, transmitted both its universal ideas and the unique creative psychology of the individual artist, who often based personal quest upon local traditions and innate cultural memory. This article analyzes the poetics of this style in Russia. The lyrical and mythological approach towards artistic images, influencing design, form, and meaning, is studied through an examination of the works of artists close to the Abramtsevo circle and the innovative experiments of the World of Art group (1898-1904).
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Board, Editorial. "Cover Art." Public Voices 1, no. 3 (April 11, 2017): 6. http://dx.doi.org/10.22140/pv.462.

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Dissertations / Theses on the topic "Russia in art"

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Rose, Katherine Mae. "Multivalent Russian Medievalism: Old Russia Through New Eyes." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493416.

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This thesis explores representations of medieval Russia in cultural and artistic works of the late nineteenth and early twentieth centuries, with an eye to the shifting perceptions of Russia’s cultural heritage demonstrated through these works. The thesis explores the history of medievalism as a field of study and interrogates the reasons that medievalism as a paradigm has not been applied to the field of Russian studies to date. The first chapter is an investigation of architectural monuments incorporating Old Russian motifs, following the trajectory of the “Russian Style” in church architecture, one of the most prominent and best-remembered forms of Russian medievalism. Chapter two explores the visual representation of medieval Russian warriors, bogatyri, in visual and plastic arts, and the ways in which this figure is involved in the national mythmaking project of the nineteenth century. The third chapter focuses on the Rimsky-Korsakov opera, The Invisible City of Kitezh and the Maiden Fevroniya, investigating the ways that different medieval and modern elements come together in this work to present an aestheticized image of medieval Russia. In this analysis of diverse and far-ranging facets of Russian medievalism in the plastic, visual, literary and performing arts, the complicated relationship between medievalism and the prevalent discourse of nationalism is investigated, opening up new opportunities for scholarly intersections with other medievalisms – in Western Europe and beyond.
Slavic Languages and Literatures
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Bang, Rosaria E. "Russian Art Education: A Study on Post-Soviet Perspectives." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07282006-130035/.

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Thesis (M.A.E.)--Georgia State University, 2006.
Title from title screen. Melody Milbrandt, committee chair; Mariama Ross, Teresa Bramlette Reeves, committee members. Electronic text (186 p. : col. ill.) : digital, PDF file. Deescription based on contents viewed May 10, 2007. Includes bibliographical references (p. 93-110).
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Winskell, Samantha Kate. "Dada and Russia : Zurich and Berlin, 1915-1922." Thesis, Courtauld Institute of Art (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294791.

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Roy, Nina Tamara. "Harvest of memories : national identity and primitivism in French and Russian art, 1888-1909." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37827.

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This dissertation analyses the convergence of primitivism and nationalism in late-nineteenth and early-twentieth century French and Russian art. The discourse of primitivism has yielded a number of critical studies focusing on the artistic appropriation of aesthetics derived from "tribal" arts, Asian arts, medieval icons, outsider art, and peasant arts and crafts. Within that scholarship, modern European art that appropriates the aesthetics of folk arts and themes of the peasantry is frequently considered to be representative of national identity and myth. The artistic elucidation of the peasantry as emblematic of national identity combined with their incorporation into primitivism produces a tension that complicates the conventional, binary structure of the discourse. It is therefore necessary to examine artistic expressions of national myth and the peasantry's absorption into the primitivist discourse, as this indicates a critical point at which issues of nationalism and primitivism converge. In the cultural realm, that juncture is located in the artistic idealisation of peasant cultures, which is indicative of a mythical state of being from which national identity could be rearticulated.
The myth of the peasantry as developed in nineteenth century European thought centres around the premise that rural populations were an unchanging element of society whose traditional customs, religious beliefs, and modes of production contrasted sharply with the accelerated changes in urban culture. A critical examination of selected paintings by the French artist Paul Gauguin (1848--1903), the Russian Neoprimitivist Natalia Goncharova (1881--1962), and the French Fauve painter Othon Friesz (1879--1949) within their specific, social contexts reveals the ways in which the modern, artistic maintenance of the rural myth elucidates current political and social issues of nationalism. This underscores the peasantry's symbolism within the nation as representative of a national, collective consciousness and ancestry. The peasantry's incorporation into the primitivist discourse and the cultural articulation of the rural myth are revealed in the paintings The Vision After the Sermon (1888), Yellow Christ (1889), Fruit Harvest (1909), and Autumn Work (1908). The paintings and their respective social contexts situate the peasantry both as constructions within the primitivist discourse and symbols of national identity, thereby disrupting the structure of alterity upon which primitivism is predicated.
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Sapwell, Mark Andrew. "Art of accumulation : the role of rock art palimpsests in Fennoscandia 4500-1200 BC." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648511.

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Diederich, Jill. "Trash to Treasure : Art between Contemporary and Conventional Ecological Practices in Arkhangelsk, Russia." Thesis, Uppsala universitet, Institutionen för kulturantropologi och etnologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-365195.

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Recycling and solid waste management are a serious problem in the Russian North. The necessary infrastructure, as well as the awareness of the citizens is missing to resolve this problem efficiently. Artists and environmental activists have therefore looked for a way to make people aware of the need for recycling and initiate social change in this regard. The medium that has been chosen by activists and artists alike is art. By involving people in creating an art object or by presenting art to them, the activists and artists hope to initiate awareness concerning our consumption patterns and, like this, show them that recycling is one of many solutions. This thesis should demonstrate how intertwined the connections between the different groups of people, but also with the (art) objects are. This is done by drawing on the actor-network-theory by Bruno Latour as an analytical tool to understand these connections. Key component in this theory, as well as the artist-activist- collective is reassembling. By constantly reassembling people into new projects, as well as household items into art objects, the collective manages to remain visible to the public and to be flexible enough to react to changing needs.
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Winstead, Caitlin Leigh. "ART, LIFE, AND COMMUNITY IN RUSSIA ABROAD: AN EXAMINATION OF THE EMIGRE MAGAZINE TEATR’ I ZHIZN’." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami150163074847434.

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Zeisler, Wilfried. "Les achats d’objets d’art français par la Cour de Russie, 1881-1917." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040109.

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La thèse Les achats d’objets d’art français par la Cour de Russie, 1881-1917, consacrée à un nouvel aspect des relations franco-russes, pose un regard bilatéral sur les arts décoratifs français et russes, dont elle étudie le goût au cœur d’interactions politiques, commerciales et artistiques. Le contexte favorable dans lequel s’effectuent ces achats sous les règnes d’Alexandre III et de Nicolas II repose sur l’ancienneté des relations franco-russes, reconnues pour leur richesse au XVIIIe siècle et au début du XIXe siècle. Il se manifeste par le développement des exportations des produits de l’industrie française d’art et de luxe en Russie depuis le Second Empire, d’autant plus facilitées par la conclusion de l’Alliance franco-russe. Ainsi favorisés, les fournisseurs de l’objet d’art français en Russie, appartenant à des industries variées – mobilier, bronze, textile, orfèvrerie, céramique, verrerie, bijouterie et joaillerie – bénéficient des séjours répétés de la clientèle russe en France. Fournisseurs et différents intermédiaires en profitent pour développer leurs relations avec le marché russe et y renforcent le succès de l’objet d’art français, dont les modèles ont une certaine influence en Russie.De l’empereur au grand bourgeois, les clients russes, reflet de l’évolution sociale du pays accumulaient les achats dans leurs résidences et affirmaient ainsi, par le goût du fabriqué en France, leur appartenance à une élite européenne. L’étude des collections russes d’objets d’art français, dispersées à la Révolution, permet de cerner un aspect de l’histoire du goût et témoigne du rayonnement international de l’art décoratif français
The thesis The purchases of French “objets d’art” by the Russian Court, 1881-1917, dedicated to a new aspect of French-Russian relationships, gives a dual view on the French and Russian decorative arts and studies them in the context of political, commercial and artistic interactions.The favorable context of these purchases, during the reigns of Alexander III and of Nicolas II, is based on the historical French-Russian relations, very developed in the XVIIIth century and at the beginning of the XIXth century. This context results in an increased of export of French “objets d’art” in Russia since the Second Empire, facilitated by the new French-Russian Alliance.The suppliers of the French “objets d’art” in Russia, belonging to the various French Art and Luxury industries – furniture, bronze, textile, silver, ceramic, glassware and jewellery – benefit from repeated stays of Russian customers in France. Consequently, suppliers and various partners develop their relations with the Russian market and strengthen the success of the French “objets d’art”, which were used as a model in Russia.From the emperor to the “grand bourgeois”, the Russian clients, who illustrate the social evolution of the country, collected their purchases in their residences and showed, by their taste for the made in France objects, that they belonged to the European elite. The study of the Russian collections of French “objets d’art”, dispersed during the Revolution, illustrates an aspect of the history of taste and shows the international success of the French decorative arts
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Nadezda, Chamina <1977&gt. "La fortuna della scenografia italiana nella Russia Neoclassica. Il teatro di Pietro Gonzaga a Mosca." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3167/.

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La tesi ha come oggetto lo studio dei legami culturali posti in essere tra la Russia e l’Italia nel Settecento effettuato a partire dall’analisi del teatro di Arkhangelskoe (nei pressi di Mosca), ideato da Pietro Gonzaga. Ciò ha consentito di inquadrare l’atmosfera culturale del periodo neoclassico a partire da un’angolazione insolita: il monumento in questione, a dispetto della scarsa considerazione di cui gode all’interno degli studi di storia dell’arte, racchiude diverse ed interessanti problematiche artistiche. Queste ultime sono state tenute in debito conto nel processo dell’organizzazione della struttura del lavoro in relazione ai differenti livelli di analisi emersi in riferimento alla tematica scelta. Ogni capitolo rappresenta un punto di partenza che va utilizzato al fine di approfondire problematiche relative all’arte ed al teatro nei due Paesi, il tutto reso possibile grazie all’applicazione di un originale orientamento analitico. All’interno della tesi vengono infatti adoperati approcci e tecniche metodologiche che vanno dalla storia dell’arte all’analisi diretta dei monumenti, dall’interpretazione iconografica alla semiotica, per arrivare agli studi sociologici. Ciò alla fine ha consentito di rielaborare il materiale già noto e ampiamente studiato in modo convincente ed efficace, grazie al ragionamento sintetico adottato e alla possibilità di costruire paralleli letterari e artistici, frutto delle ricerche svolte nei diversi contesti. Il punto focale della tesi è rappresentato dalla figura di Pietro Gonzaga. Tra i decoratori e gli scenografi italiani attivi presso la corte russa tra il Settecento e l’Ottocento, questi è stato senza dubbio la figura più rilevante ed affascinante, in grado di lasciare una ricca eredità culturale e materiale nell’ambito dell’arte scenografica russa. Dimenticata per lungo tempo, l’opera di Pietro Gonzaga è attualmente oggetto di una certa riconsiderazione critica, suscitando curiosità e interesse da più parti. Guidando la ricerca su di un duplice binario, sia artistico che interculturale, si è quindi cercato di trovare alcune risonanze tra l’arte ed il pensiero di Gonzaga ed altre figure di rilievo non solo del suo secolo ma anche del Novecento, periodo in cui la cultura scenografica russa è riuscita ad affrancarsi dai dettami impartiti dalla lezione settecentesca, seguendo nuove ed originali strade espressive. In questo contesto spicca, ad esempio, la figura di Vsevolod Meyerchold, regista teatrale (uno dei protagonisti dell’ultimo capitolo della tesi) che ha instaurato un legame del tutto originale con i principi della visione scenica comunicati da Pietro Gonzaga. Lo sviluppo dell’argomento scelto ha richiesto di assumere una certa responsabilità critica, basandosi sulla personale sicurezza metodologica ed esperienza multidisciplinare al fine di tener conto dall’architettura, della teoria e della pratica teatrale – dalla conoscenza delle fonti fino agli studi del repertorio teatrale, delle specifiche artistiche locali, del contesto sociale dei due paesi a cavallo tra il ‘700 e l’‘800. Le problematiche toccate nella tesi (tra le quali si ricordano il ruolo specifico rivestito dal committente, le caratteristiche proprie della villa neoclassica russa, il fenomeno di ‘spettacoli muti’, la “teatralità” presente nel comportamento dei russi nell’epoca dei Lumi, la risonanza delle teorie italiane all’interno del arte russa) sono di chiara attualità per quanto concerne le ricerche relative al dialogo storico-artistico tra i due Paesi.
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Nolte, Jacqueline Elizabeth. "Figurative art in Soviet Russia circa 1921-1934 : situating the realist-anti-realist debate in the context of changing definitions of proletarian culture." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/21781.

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Bibliography: p. 247-263.
In this dissertation I demonstrate that in many Western and Soviet texts the work of so called formalist leftists and figurative artists are viewed as diametrically opposed to one another. I argue against the perpetuation of this polemic and the assumptions that inform this view. These assumptions are that the leftists produced self-referential works indicative of an anti-realist philosophy and that figurative artists produced social commentaries informed by a philosophy of realism which led 'inevitably' to Socialist Realism. Although a few recent texts warn against oversimplifying this debate, none go far enough in deconstructing the view that there were two groupings diametrically opposed to one another. In fact, many simply repeat the argument as it was articulated in the twenties and thirties, which is to ignore the possibility of a critical analysis of the theoretical principles and constraints informing the debates current at that time. Categorising leftists as anti-realist and figurative artists as realist is not satisfactory firstly because neither the leftists nor the figurative artists existed as homogenous groupings and secondly because many figurative artists (the so-called realists) in fact challenged the idea of a coherent world order existing external to the art work. Nevertheless there are artists from both these categories who asserted the importance of an objective world that was external to and a primary determinant of the art work. In this dissertation I demonstrate that these figurative artists often shared the same ideological goals with leftists. Instead of working with the idea of viewing artists of the twenties and thirties as realist or anti-realist, figurative or so-called formalist, I discuss their philosophical and stylistic choices in relation to the political and economic project of the period, namely the empowerment of the proletariat and the attempt to foster a proletarian culture.
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Books on the topic "Russia in art"

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Beavington, Atkinson J., ed. An art tour to Russia. London: Waterstone, 1986.

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Komiks: Comic art in Russia. Jackson [Miss.]: University Press of Mississippi, 2010.

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Marina, Bowater, and Stasov V. V. 1824-1906, eds. The decorative art of Russia. New York: Portland House, 1990.

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Unknown Russia: Contemporary Russian religious painting. Moscow: "New Book" Publishers, 1994.

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Anna, Laks, ed. Red in Russian art. [S.l.]: Palace Edition, 1997.

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Another side to Russia. Buderim, Qld., Australia: D. Bateman, 1985.

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Gosudarstvennyĭ russkiĭ muzeĭ (Saint Petersburg, Russia). Fairytales in Russia. Edited by Gusev V. A, Petrova E. A, and MacInnes Kenneth. [Russia]: Palace editions, 2001.

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Hamilton, George Heard. The art and architecture of Russia. 3rd ed. Harmondsworth: Penguin, 1990.

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Sports in art. Saint-Petersburg: Palace Editions, 2009.

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Da Bisanzio alla santa Russia: Nikodim Kondakov (1844-1925) e la nascita della storia dell'arte in Russia. Roma: Viella, 2011.

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Book chapters on the topic "Russia in art"

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Karenina, Anna. "Tolstoy: art and conscience." In The Novel in Russia, 85–96. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003091899-9.

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Byers, Mary Hannah. "From ‘State of the Art’ to ‘State Art’: The Rise of Socialist Realism at the Tretyakov Gallery." In Reinterpreting Revolutionary Russia, 184–201. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230624924_11.

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Kangas, Reeta E. "The State of the Art: Surveying Digital Russian Art History." In The Palgrave Handbook of Digital Russia Studies, 569–84. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42855-6_31.

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AbstractWith the growing interest in digital humanities, the methodology of digital art history is in some respects lagging behind the trend. Given the prospects of the new digital image analysis, computer vision, and visualization methods, a number of questions have arisen as to how exactly the new digital methods can and should be applied to art history. Furthermore, when trying to apply these digital methods to the analysis of Russian art, one encounters a whole new set of questions and challenges. In this chapter, I examine current and potential applications of digital methods to the analysis of Soviet political cartoons published in Pravda during the “Great Patriotic War,” 1941–1945, as well as the study of Russian art history more generally. I especially examine how the combination of quantitative and qualitative analyses of political cartoons enables a deeper understanding that illustrates cultural, historical, and political developments over time.
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Lebanidze, Bidzina. "State of the art." In Russia, EU and the Post-Soviet Democratic Failure, 17–26. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-26446-8_2.

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Karg, Josephine. "The Wanderers and Realism in Tsarist Russia." In A Companion to Nineteenth-Century Art, 193–208. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118856321.ch12.

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Reid, Susan E. "De-Stalinisation in the Moscow Art Profession." In Regime and Society in Twentieth-Century Russia, 146–84. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1007/978-1-349-27185-6_10.

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Christensen, Karin Hyldal. "The functional aesthetics of liturgical art." In The Making of the New Martyrs of Russia, 81–86. New York : Routledge, 2017. | Series: Routledge religion, society, and government in Eastern Europe and the Former Soviet States ; 5: Routledge, 2017. http://dx.doi.org/10.4324/9781315226514-5.

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Smola, Klavdia. "Hybrid Political Humor: The New Dissent Art in Putin’s Russia." In Satire and Protest in Putin’s Russia, 169–90. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76279-7_9.

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Antonova, Clemena. "The Role of Religious Art in Post-Communist Russia." In Atheist Secularism and its Discontents, 210–24. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137438386_11.

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Jallat, Frédéric, and Anatoly Zhuplev. "Corporate Governance in Russia: A State of the Art." In Handbook of Top Management Teams, 610–17. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230305335_72.

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Conference papers on the topic "Russia in art"

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Gnezdova, Julia, and Elena Matveeva. "Features of the Art Market in Russia." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.97.

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Filatova, Natalia. "Russian Comedians and the First Theatre School in Russia For the 350th Anniversary of the First Theatre School in Russia." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.81.

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Medkova, Elena Styanova. "Art Education Of Russia And The Competition Movement." In EEIA 2019 - International Conference "Education Environment for the Information Age". Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.09.02.63.

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Morozova, Anna. "SPANISH ART EXHIBITIONS IN RUSSIA: THE SOCIOCULTURAL CONTEXT." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s14.030.

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Bartseva, Aleksandra, Georgy Boos, Anatoly Chernyak, Alena Kuznetsova, and Evgeniy Rozovskiy. "MUSEUM LIGHTING IN RUSSIA: STATE OF THE ART." In Proceedings of the 29th Quadrennial Session of the CIE. International Commission on Illumination, CIE, 2019. http://dx.doi.org/10.25039/x46.2019.po118.

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Flyagin, V. A. "State of the art of gyrotron investigation in Russia." In 18th International Conference on Infrared and Millimeter Waves. SPIE, 2017. http://dx.doi.org/10.1117/12.2298730.

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Ryabov, A. V. "State policy and the artistic culture of Russia in 1918." In Scientific Trends: Philology, Culturology, Art history. LJournal, 2019. http://dx.doi.org/10.18411/spc-26-03-2019-08.

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Balega, Yu Yu, E. Yu Kilpio, and B. M. Shustov. "State-of-Art Challenges and Prospects of Astronomy in Russia." In Groud-Based Astronomy in Russia. 21st Century. Специальная астрофизическая обсерватория РАН, 2020. http://dx.doi.org/10.26119/978-5-6045062-0-2_2020_xv.

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CHupahina, T. I. "The synthetic potential of the Russian musical art of the Silver Age." In SCIENCE OF RUSSIA: GOALS AND OBJECTIVES. L-Journal, 2020. http://dx.doi.org/10.18411/sr-10-08-2020-35.

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Tsybikova, Valentina V. "Elements of romanticism in Hai Zi’s works of art." In Eurasian paradigm of Russia: values, ideas and experience. Buryat State University Publishing Department, 2015. http://dx.doi.org/10.18101/978-5-9793-0814-2-129-131.

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Reports on the topic "Russia in art"

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Buichik, A. G. TRADITIONAL APPLIED ART OF RUSSIA IN THE 21-ST CENTURY: OPPORTUNITIES AND PROSPECTS. Modern Science: Actual Problems of Theory and Practice №3, March 2019. http://dx.doi.org/10.18411/buichik-ag-doi-4.

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Kim, Alexander. Osteological studies of Archaeological Materials from Bohai Sites in Russia. A State of the Art. Edicions de la Universitat de Lleida, 2017. http://dx.doi.org/10.21001/itma.2017.11.03.

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Sittenauer, Peter M. Lessons In Operational Art: An Analysis of the Allied Expeditionary Forces in North Russia, 1918-1919. Fort Belvoir, VA: Defense Technical Information Center, April 2014. http://dx.doi.org/10.21236/ada612155.

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Quak, Evert-jan. Russia’s Approach to Civilians in the Territories it Controls. Institute of Development Studies (IDS), March 2022. http://dx.doi.org/10.19088/k4d.2022.041.

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This rapid review synthesises the literature from academic sources, knowledge institutions, non-governmental organisations (NGOs), and trusted independent media outlets on the approach used by the Russian government to provide any support or services to civilians in the territories it controls. The rapid review concludes that Russia provides economic, social, government, and military support to de facto states that it controls, such as Abkhazia, South Ossetia, Transnistria and the Donbas region. Russia covers large parts of the state’s budget of these separatist regions. This review uses the term aid referring to a wide range of support, such as humanitarian, social safety nets, basic services, infrastructure, state development, and security. Due to the lack of transparency on the Russian aid money that flows into the regions that are the subject of this review, it is impossible to show disaggregated data, but rather a broader overview of Russian aid to these regions. Russia used humanitarian aid and assistance to provide for civilians. During armed conflict it provided, to some extent, food, and medicines to the people. However, from the literature Russia has used humanitarian aid and assistance as an instrument to pursue broader policy goals that could not be defined as humanitarian in nature. Russia often relied on the language of humanitarianism to strengthen its credentials as a neutral and impartial actor and to justify its continued support for the residents and de facto authorities of Abkhazia, South Ossetia, and Transnistria, to secure its aim to strengthen the political and social ties with these regions while weakening their allegiance to Georgia and Moldova. As the humanitarian activities to the Donbas region in eastern Ukraine demonstrate, the Russian state is not willing to allow scrutiny of their humanitarian aid by independent organisations. Mistrust, corruption, and the use of aid for propaganda, even smuggling arms into the separatist region, are commonly mentioned by trusted sources. After a conflict becomes more stabilised, Russia’s humanitarian aid becomes more of a long-term strategic “friendship”, often sealed in a treaty to integrate the region into the Russian sphere, such as the cases of South Ossetia, Abkhazia, and Transnistria clearly show. Although all these separatist regions rely on Russia (economically, politically, and through Russia’s military presence), this does not mean that they always do exactly what Russia wants, which is particularly the case for Abkhazia and Transnistria.
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Lylo, Taras. Ideologemes of modern Russian propaganda in Mikhail Epstein’s essayistic interpretations. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11404.

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The article analyzes the main anti-propaganda accents in Mikhail Epstein’s essayistic argumentation about such messages of modern Russian propaganda as “Russia is threatened by an external enemy”, “Russia is a significant, powerful country”, “The collapse of the USSR was a tragedy”, “Russia is a special spiritual civilization”, “Our cause in Donbass is sacred”, “The enemy uses, or may use of illegal weapons”... A special emphasis is placed on the fact that the basis of these concepts is primarily ontological rather than ideological. Ideology is rather a cover for problematic Russian existence as a consequence of Russia’s problematic identity and for its inability to find itself in history. As a result, Russia is trying to resolve its historical issues geographically, through spatial expansion, trying to implement ideologemes such as “The Great Victory. We can repeat” or “Novorossia”. That is why M. Epstein clearly identifies the national and psychological basis of the Kremlin’s behavior in 2014-2021. М. Epstein easily refutes the main ideologemes of Russian propaganda. This gives grounds to claim that Russian political technologists use the classical principles of propaganda: ignore people who think; if the addressee is the masses, focus on a few simple points; reduce each problem to the lowest common denominator that the least educated person can repeat and remember; be guided by historical realities that appeal to well-known events and symbols and appeal to emotions, not to the mind. М. Epstein’s argumentation clearly points to another feature of modern Russian propaganda: if Soviet propaganda was concerned with the plausibility of its lies, then Kremlin propaganda does not care at all. It totally spreads lies, often ignoring even attempts to offer half-truth.
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Berdiqulov, Aziz. ECMI Minorities Blog. Russian Migrants in Central Asia – An ambiguous Reception. European Centre for Minority Issues, July 2022. http://dx.doi.org/10.53779/abpl3118.

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One of the consequences of Russia’s invasion of Ukraine is the imposition of western economic sanctions on the country and further autocratization of its political system. Both factors have resulted in a significant outward migration of Russian citizens, with Central Asia being one of frequent destinations due to the geographic proximity and widespread use of Russian language. At the same time, for many Russians the region remains a terra incognita, perceived primarily through the presence of the Central Asian labour migrants. In this blog piece, ECMI Researcher Aziz Berdiqulov examines this recent phenomenon by discussing specifically the cases of Kazakhstan and Uzbekistan as receiving countries, through the prism of different initiatives addressing the influx, social attitudes concerning the newcomers and reactions of the Russian minorities present there. Furthermore, the author tries to assess whether the new situation has the potential for changing the hitherto pattern of relations between Russians and Central Asians.
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Allan, Duncan, and Ian Bond. A new Russia policy for post-Brexit Britain. Royal Institute of International Affairs, January 2022. http://dx.doi.org/10.55317/9781784132842.

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The UK’s 2021 Integrated Review of security, defence, development and foreign policy describes Russia as ‘the most acute direct threat to [the UK’s] security’ in the 2020s. Relations did not get this bad overnight: the trend has been negative for nearly two decades. The bilateral political relationship is now broken. Russian policymakers regard the UK as hostile, but also as weaker than Russia: a junior partner of the US and less important than Germany within Europe. The consensus among Russian observers is that Brexit has reduced the UK’s international influence, to Russia’s benefit. The history of UK–Russia relations offers four lessons. First, because the two lack shared values and interests, their relationship is fragile and volatile. Second, adversarial relations are the historical norm. Third, each party exaggerates its importance on the world stage. Fourth, external trends beyond the UK’s control regularly buffet the relationship. These wider trends include the weakening of the Western-centric international order; the rise of populism and opposition to economic globalization; and the global spread of authoritarian forms of governance. A coherent Russia strategy should focus on the protection of UK territory, citizens and institutions; security in the Euro-Atlantic space; international issues such as non-proliferation; economic relations; and people-to-people contacts. The UK should pursue its objectives with the tools of state power, through soft power instruments and through its international partnerships. Despite Brexit, the EU remains an essential security partner for the UK. In advancing its Russia-related interests, the UK should have four operational priorities: rebuilding domestic resilience; concentrating resources on the Euro-Atlantic space; being a trusted ally and partner; and augmenting its soft power. UK decision-makers should be guided by four propositions. In the first place, policy must be based on clear, hard-headed thinking about Russia. Secondly, an adversarial relationship is not in itself contrary to UK interests. Next, Brexit makes it harder for the UK and the EU to deal with Russia. And finally, an effective Russia policy demands a realistic assessment of UK power and influence. The UK is not a ‘pocket superpower’. It is an important but middling power in relative decline. After Brexit, it needs to repair its external reputation and maximize its utility to allies and partners, starting with its European neighbours.
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Konaev, Margarita, Andrew Imbrie, Ryan Fedasiuk, Emily Weinstein, Katerina Sedova, and James Dunham. Headline or Trend Line? Center for Security and Emerging Technology, August 2021. http://dx.doi.org/10.51593/20210033.

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Chinese and Russian government officials are keen to publicize their countries’ strategic partnership in emerging technologies, particularly artificial intelligence. This report evaluates the scope of cooperation between China and Russia as well as relative trends over time in two key metrics of AI development: research publications and investment. The findings expose gaps between aspirations and reality, bringing greater accuracy and nuance to current assessments of Sino-Russian tech cooperation.
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Battakhov, P. P. MAIN PROVISIONS OF SOCIAL ENTERPRISE IN RUSSIA. DOICODE, 2020. http://dx.doi.org/10.18411/2276-6598-2020-58823.

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This article discusses the concept of the social orientation of activity and the entrepreneurial approach at the level of the Russian Federation, including a number of aspects of the legal regulation of public relations between organizations of state power and social entrepreneurs. The main problem of the study is the study of the sequence of the assignment of the status of a social enterprise by the authorities Russia at the federal level. Currently, the question is being raised about the adoption of a separate federal legislative act "On the development of small and medium-sized enterprises in the Russian Federation." The introduction of the relevant law is necessary, since the reasons are the basis for the inevitability of consideration of public problems and the adoption of relevant official documents in all regions of the Russian Federation.
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Pobedonosceva, Veronika, and Galina Pobedonosceva. SUPPORT ZONES AS THE BASIS OF RUSSIAN POLICY IN ITS ARCTIC ZONE. Science and Innovation Center Publishing House, 2020. http://dx.doi.org/10.12731/2070-7568-2020-2-3-132-143.

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The article explores the mechanism of the so-called "support zones" and its use in the Arctic zone of Russia to determine its role as the basis of Russian politics and a catalyst for economic growth in the Arctic regions. The conclusion is drawn on the promotion of the use of “support zones” to strengthen Russian positions in the Arctic at a new qualitative level.
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