Relevant bibliographies by topics / Russian Painters

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Russian Painters'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 March 2023

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Journal articles on the topic "Russian Painters"

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Pipes, Richard. "Russia's Itinerant Painters." Russian History 38, no. 3 (2011): 315–427. http://dx.doi.org/10.1163/187633111x579819.

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AbstractVisual arts in Russia languished through most of her history, partly because the Orthodox Church frowned on pictorial representation, partly because there was virtually no middle class to purchase paintings. In the mid-eighteenth century Russia acquired an Academy of Arts which produced works largely in classical style and content. This changed in the 1870's when, under western influence, a group of Russian artists formed a society of "Itinerants" committed to painting in the realistic mode and to exhibit their works in various cities of the Empire rather than solely in the capital cities of St. Petersburg and Moscow, as had been the custom until then. Their canvasses depicted everyday life in Russia as well as historical scenes; they also painted portraits of contemporaries. This special issue deals with the lives and work of nine leading Itinerant painters. The movement gradually lost popularity toward the beginning of the twentieth century as Impressionism and Abstract art replaced it, but it revived in the Soviet period. Today it is greatly favored by the Russian public which swarms the Tretyakov Gallery in Moscow, the largest collection of Itinerant art.
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Kuryanova, Anastasia M. "Russian Artists at the Russian Orthodox Ecclesiastical Mission in Beijing in the 19th Century: Some Research Concerns." Oriental Courier, no. 4 (2022): 105. http://dx.doi.org/10.18254/s268684310023832-3.

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In 1830, a Russian painter named Anton M. Legashov (1798–1865) went to Beijing as part of the Russian Orthodox Ecclesiastical Mission becoming the first professional Russian artist in China. In total, four Russian painters visited China being included in the mission: A. M. Legashov, K. I. Korsalin, I. I. Chmutov, and L. S. Igorev. In Beijing, the artists were supposed to paint portraits commissioned by the Chinese and thereby establish useful contacts with influential Chinese officials; in fact, the painters acted as diplomatic agents. At the same time, they had to fulfill the task of the Imperial Academy of Arts, St. Petersburg, which instructed them to collect visual evidence about the life, customs and views of the distant eastern country. Upon arrival in China, Russian painters were introduced to a unique artistic scene of the late Qing Dynasty, where Chinese, European and Occidental art interacted. Thanks to that, the work of Russian artists acquired a very distinctive look. However, nowadays the heritage of these painters is practically not studied due to several issues connected with a small number of their surviving works, questionable attribution, unclear provenance, insufficient study of neighboring artistic phenomena, such as Chinese export art or the art of the followers of Giuseppe Castiglione and other Jesuit artists at the Chinese imperial court. The article is thus devoted to the analysis of the difficulties regarding the study of the work of Russian artists at the Russian Orthodox mission in Beijing. The identification and analysis of these research concerns will allow to further develop methodology for studying the work of these painters, whose unique oeuvre remains a noticeable gap in Russian art history, while the history of the Russian Ecclesiastical mission itself or the art of Western missionaries in China have been deeply analyzed by both Russian and foreign scholars.
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Lazarević, Davor. "Emigrants easel: Russian painters in Pirot." Pirotski zbornik, no. 43 (2018): 101–14. http://dx.doi.org/10.5937/pirotzbor1843101l.

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Kharitonova, Natalya Stepanovna. "Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 97–104. http://dx.doi.org/10.17816/vgik7297-104.

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The author examines similarity of historical and cultural development of Russia and Scandinavian countries. Cultural ties between the two domains evolved over many centuries. The most intensive period of development of Russian-Scandinavian artistic contacts stretched from mid-1880s-1890s up to the end of the first decade of the 20th century. In 1890s Russian painters considered achievements of Scandinavian colleagues as an example of a quest for progress, a creative approach to finding ones way in development of fine arts. At the same period in Russia a number of major international art exhibitions were arranged with active northern painters participation. The Russian interest in the art of Scandinavian countries in the late 19th - early 20th c. was anything but accidental. The development of artistic culture in Nordic countries was in tune with the Russian artists quest for other ways of creative expression. Northern culture attracted sympathy of Russian painters, black-and-white artists and art critics of diverse, often opposing groups and movements. For example, among the admirers of Scandinavian fine arts were V.V. Stasov and A.N. Benoit, I.E. Repin, V.A. Serov, F.A.Malyavin, the artists of the "Mir iskusstva group, and representatives of Moscow School of Painting (K. Korovin, A. Arkhipov, V. Perepletchikov etc.). By mid-1890s relations of Russian and Scandinavian art schools had become very intense and productive. This interaction coincided with significant events that influenced further development of artistic and other forms of culture on both sides. It manifested itself in publications of works of A. Strinberg and K. Hamsun in Russian, in staging of H. Ibsens plays at the Moscow Art Theater, exhibitions (especially of A.Tsorns works), and other activities that served to cross-fertilisation of cultures of Russia and Scandinavian countries.
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Netreba, Elizaveta S. "ANALYSIS OF THE PARTICIPATION OF YOUNG PAINTERS FROM YEKATERINBURG IN THE INTERREGIONAL EXHIBITIONS OF THE URAL DIVISON OF THE RUSSIAN UNION OF ARTISTS." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 19. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-19.

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The exhibiting activity of Yekaterinburg’s young painters in the course of professional growth has been reviewed based on information on their participation in Ural regional and interregional exhibitions held by the Union of Artists of Russia from 2003 to 2018. The statistical data have been tabulated, enabling one to see changes in the exhibiting activity and genre and style preferences of young painters. The results of the study are important for understanding the transformations taking place in the involvement of young people in professional exhibition activities considering that participation in regional exhibitions is an important indicator of a painter’s development within the Union of Artists.
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Petkovic, Sreten. "Sava Krabulevic, the painter of the late seventeenth and early eighteenth century." Zograf, no. 33 (2009): 159–66. http://dx.doi.org/10.2298/zog0933157p.

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The painter Sava Krabulevic is known only as the author of the iconostasis in the Monastery of Orahovica in eastern Slavonia. This work, which he produced in 1697, attracted the attention of Serbian art historians because some of the icons show Western influences. The article describes how Krabulevic found himself in Moscow (1688-1694) by dint of circumstance and adopted some of the West European painting techniques through Russian icon painters.
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Žanja Vrbica, Sanja. "Hrvatska slikarska dionica ruskog marinista Alekseja Hanzena." Ars Adriatica 8, no. 1 (December 28, 2018): 163–78. http://dx.doi.org/10.15291/ars.2760.

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Within the group of lesser-known foreign painters who stayed in Croatia between the two world wars, Russian painter Alexei Hanzen (b. February 2, 1876 in Odessa – d. October 19, 1937 in Dubrovnik) stands out with his artistic achievements. Having immigrated to Croatia in 1920, he remained here for the rest of his life. Nearly two decades spent in Croatia have been a time of intense work, during which Hanzen participated in numerous exhibitions organized almost every year in Zagreb, as well as in Split, Osijek, Dubrovnik, Ljubljana, Belgrade, Paris, Buenos Aires, Prague and elsewhere. His paintings could be seen at private houses, in public and museum collections, and at various royal courts, and are nowadays part of various collections in Croatia. Early in the 20th century, Hanzen studied painting in Munich, Berlin, and Dresden, and then continued his artistic training in Paris, in the ateliers of Tony Robert-Fleury and Jules Lefebvre. He was the grandson of the famous Russian marine artist Ivan Kostantinovich Ajvazovsky, and likewise specialized in painting sea scenes, presented at various exhibitions from 1901 onwards. For his work he was awarded in Paris and Russia, and in 1910 became the official painter of the Russian Navy.
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Tsyaomin, Mi. "Main Intersections in the Approaches of Russian and Chinese Artists to Chinese Landscapes Painting." Культура и искусство, no. 4 (April 2022): 33–46. http://dx.doi.org/10.7256/2454-0625.2022.4.37855.

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The article is devoted to the study of Chinese landscapes painting by Chinese and Russian artists. Comparative analysis of landscape painting by Chinese and Russian artists dedicated to China allows to identify the most important trends and patterns in the methods of landscapes painting in Russia and China of the late XX в - early XXI century. The purpose of this study is to determine the main intersections in the approaches of artists of the two countries. The specificity of the artistic and expressive language of Chinese and Russian landscape artists in the embodiment of landscapes of China is determined primarily by the influence of the modern national school of painting, as well as the desire to develop and update existing traditions, finding inspiration in foreign experience, coming into contact with foreign culture and artistic tradition. The main conclusions of the study are that landscape painting by artists of Russia and China reveals similarities in formal terms: artists of both countries use techniques of both, realistic school and impressionism. Scientific novelty is determined by the fact that the mechanism of integration of the principles of realism and Western impressionism by Chinese painters is revealed. The author introduces an extensive body of artistic materials of Russian and Chinese painters into Russian science, notes that there are significant differences between the artists of the two countries.
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Kuzina, Nataliya. "Russian-Catalan Relations of the Second Half of the 19th and Early 20th Century." ISTORIYA 13, no. 10 (120) (2022): 0. http://dx.doi.org/10.18254/s207987840023314-4.

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This article is devoted to contacts and connections between Catalan and Russian intellectuals, artists in the period from the second half of the 19th century to the beginning of the 20th century. These interactions were largely fragmentary, the connections were personal and few, but they significantly influenced the literary and artistic life of Russia and Catalonia. Questions of culture, science and art were the main subjects of conversation between Russians and Catalans. The article highlights such episodes as the correspondence between I. Pavlovsky and N. Ollier, the influence of the Catalan artist M. Fortuny on domestic painters, joint projects of S. Diaghilev and H. Sert, etc.
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Gauzer, Irina V. "CODE OF SPANISH PAINTING IN RUSSIAN CULTURE (BASED ON THE RUSSIAN FICTION OF THE XIX - EARLY XX CENTURIES)." Interexpo GEO-Siberia 5 (July 8, 2020): 3–10. http://dx.doi.org/10.33764/2618-981x-2020-5-3-10.

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The paper deals with reception of the Spanish pictural images presented in the Russian fiction of the XIX - early XX centuries. The material of the study are works by I.A. Goncharov, A.F. Pisemsky, N.S. Leskov, N.D. Khvoshchinskaya, N.A. Leykin, L.N. Andreev, A.T. Averchenko. The analysis results show that the theme of the Spanish painting in the Russian fiction is focused on images of two painters - Bartolome Murillo and Diego Velazquez. What is more, with time there is a shift of contexts in which the writers put the images of the Spanish painters and their masterpieces. If in the middle of the XIX century these images are markers of the high art sphere that connect the Russian space with the latter, in the early XX century they represent gaps between elite classic art and mass culture of the epoch fin de siècle.
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Dissertations / Theses on the topic "Russian Painters"

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Humphreys, Charlotte M. "Cubo-Futurism in Russia, 1912-1922 : the transformation of a painterly style." Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/2946.

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Cubo-Futurlsm is defined both in terms of the development of Cubist and Futurist styles of painting by the Russian avant-garde artists Liubov Popova, Nadezhda Udaltsova, Olga Rozanova and Ivan Puni between 1912 and 1915, and in terms of the reworking and transformation of' these two movements against the unique Russian cultural background into a new non-objective art after 1915. The Russian artistic and cultural context, including Ouspensky and the fourth dimension and the linguistic theories of the Futurist poets Alexei Kruchenykh and Vellmlr Khlebnikov concerning a transratlona]. language (zaum), played a vital role for a number of artists in their move into non-objective painting and construction. Zaum influenced the reworking of Cubist collage by Malevich, Puni and Rozanova, and the abstract collages and reliefs of Rozanova and Puni are defined as visual equivalents to the new logic "broader than sense" envisaged by zaum. As part of the Russian cultural context, indigenous art forms also acted as possible stimuli for the development of a non-objective painterly style. The abstract potential which artists saw in the icon was exploited by Puni in his non-objective reliefs of 1915-c1919, and the principles of decoration in Islamic Architecture may be seen as an important source for Popova's painterly architectonics of 19 16-18. After 1916, the principles of non-objective painting, established fran an examination of Cubism and Futurism, were applied to tasks of design and the theatre. Puni, Rozanova and Udaitsova designed household and fashion items, and Alexandra Exter and Alexandr Vesnin completed set and costume designs for several productions in the Moscow Kamerny Theatre between 1916 and 1922. In their attempt to articulate a dynamic spatial environment, the principles for these designs derived from earlier Cubo-Futurist experiments in painting.
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Books on the topic "Russian Painters"

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Vertinskaya, Alexandra. Alexandra Vertinskaya: Visual archive ; The State Russian Museum ; Ludwig Museum in the Russian Museum. [Bad Breisig]: Palace Editions, 2006.

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Voigt, Sabine. Die Tagebücher der Marie Bashkirtseff von 1877-1884. Dortmund: Edition Ebersbach, 1997.

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Zozulya, Ekaterina. Russian artists in India. Kolkata: Asiatic Society, 2004.

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Rinke, Inessa. Contemporary Soviet painters from Riga. New York: Eduard Nakhamkin Fine Arts, 1988.

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1922-, Darʹin Gennadiĭ Aleksandrovich, ed. Gennadiĭ Aleksandrovich Darʹin. Leningrad: Khudozhnik RSFSR, 1987.

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Paustovsky, Konstantin. Konstantin Paustovskiĭ o khudozhnikakh. Moskva: Izobrazitelʹnoe iskusstvo, 1994.

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Kean, Beverly Whitney. French painters, Russian collectors: The merchant patrons of modern art in pre-revolutionary Russia. London: Hodder & Stoughton, 1994.

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Valeriĭ, Zherlit︠s︡yn, ed. Russkie khudozhniki v ėmigrat︠s︡ii: O zhizni i tvorchestve russkikh khudozhnikov za rubezhom, s prilozheniem poleznykh svedeniĭ dli︠a︡ li︠u︡biteleĭ zhivopisi, turistov i kollekt︠s︡ionerov. Sankt-Peterburg: ART, 2007.

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A, Aleksandrov. Mademuazelʹ Bashkirt︠s︡eva: Podlinnai︠a︡ zhiznʹ. Moskva: Zakharov, 2003.

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Buchinskai︠a︡, Valentina Stanislavovna. Sergeĭ Kalmykov: Sergey Kalmykov. Almaty: "Ȯner", 1991.

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Book chapters on the topic "Russian Painters"

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Hughes, Lindsey. "German Specialists in Petrine Russia: Architects, Painters and Thespians." In The German Lands and Eastern Europe, 72–90. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1007/978-1-349-27094-1_4.

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Gavrilovich, Donatella. "L’eredità teatrale e artistica di Savva Mamontov: un ponte tra Oriente e Occidente." In Biblioteca di Studi Slavistici, 195–212. Florence: Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-507-4.15.

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The present issue focuses on Savva Mamontov as main creator of a theatrical-synaesthetic experimentation in Russia, based on the research of a common Slavic and pre-Helenic civilizations root to create a universal artistic language. So the paper explores Sciamanism and Shiite mother goddess cult to identify the conjunction points between these ancient cults and the rediscovery of the artist's gesture sacredness both in Mamontov's conception both in the painters' artworks of his circle.
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Gonneau, Pierre. "Les tableaux maudits, en France et en Russie." In Biblioteca di Studi Slavistici, 179–94. Florence: Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-507-4.14.

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I. Repin’s “Ivan the Terrible and his son”, exhibited in 1885, in a very tense social and political context, sparked off fierce reactions. While the Itinerant painter Kramskoj is enthusiastic, the ge-neral-prosecutor of the Holy Synod, K. Pobedonoscev, finds the painting “simply repulsive”. In France a similar scandal was caused by Gericault’s “Raft of the Medusa” (1819). It represents the last instants of the martyrdom of the survivors of the Medusa’s shipwreck (1816). Repin’s painting, unlike that of Gericault, keeps on arousing a great hostility nowadays in conservative Russian circles.
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Pchelkina, Liubov, and Irina Kochergina. "27 Art Works from the First Russian Art Exhibition in the Collection of the Moscow Museum of Painterly Culture." In 100 Years On: Revisiting the First Russian Art Exhibition of 1922, 173–82. Köln: Böhlau Verlag, 2022. http://dx.doi.org/10.7788/9783412525668.173.

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Bellows, Amanda Brickell. "Oil Paintings." In American Slavery and Russian Serfdom in the Post-Emancipation Imagination, 108–51. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469655543.003.0005.

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After the abolition of serfdom and slavery, Russian and American artists created oil paintings of peasants and African Americans that revealed to viewers the complexity of their post-emancipation experiences. Russian painters from the Society of Traveling Art Exhibitions and American artists including Henry Ossawa Tanner, William Edouard Scott, and Winslow Homer created thematically similar works that depicted bondage, emancipation, military service, public schooling, and the urban environment. Their compositions shaped nineteenth-century viewers’ conceptions of freedpeople and peasants and molded Russians’ and Americans’ sense of national identity as the two countries reconstructed their societies during an era of substantial political and social reform.
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Bobilewicz, Grażyna. "Obraz Afryki w malarstwie rosyjskim XX i początku XXI wieku." In Afryka i (post)kolonializm. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-260-7.07.

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The research on Russian painting of the 20th and the beginning of the 21st century in the context of early and modern African culture/art belongs to the realm of theoretical reflection within such disciplines as cultural geography, anthropology of place and space, cultural and existential experience, geocriticism (painterly depictions of natural and urban space), geopoetics (painterly topography), and is interdisciplinary in nature. The analysis of Russian-African interdisciplinary dialogue in visual representations of Africa, as an aspect of the Russians’ awareness and idea of this continent, requires an answer to the following questions: what attracted Russian artists to Africa and how did it influence Russian culture/art? And the other way round – what did Russians, especially those travelling through Africa, bring to African culture? In Russian painting, which is diverse in terms of genres (landscape, portrait, still life), Africa functions as a nationally, culturally and socially heterogeneous continent. The early and modern African aesthetics/ art is the source of inspiration for iconographic and formal innovations. In iconic texts, visual translation, representation and interpretation of Africa manifests itself at the imagination-related levels: at thematic and motivic, narrative and compositional levels, at the level of a painterly code and in the conceptualization of artistic language. The painterly depiction of Africa, to which each of the Russian artists contributes their own representation types, artefacts, poetics and semantics, is usually created on the basis of the observation of real space, which, transformed in the iconic text, functions in an artistic, aesthetic, ideological and emotional projection. The reflection focuses on the painterly depictions and various representations of Africa which include motifs referring to African culture/art – the effect of ethnographic and artistic travels to various regions of the Dark Continent. The exemplary material selected from albums, Internet exhibitions of Russian paintings and artists’ professional websites has been analysed in terms of iconography (identification of the elements of the represented world and the relations between them), the connection between the title of the work and the visual representation, the formal determinants of the painterly depiction of Africa, and the poetics of reception.
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Kahn, Andrew. "Painting." In Mandelstam's Worlds, 301–47. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857938.003.0007.

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This chapter observes that references to the eye and parts of the eye (eyelashes, iris, pupil, sclera, retina, and socket) are pervasive in Mandelstam’s prose and poetry. These references intensify around 1931, at a time when his poems establish a visual dialectic between representations of art (cinema, painting, objects) and also make use of images from Soviet life, adding what W.J.T. Mitchell calls ‘iconotexts’ to the emblems or ideograms seen in the poems of the early 1920s. A close reading of a famous passage from the travel piece Journey to Armenia unravels from its references to French painters and theorists the background behind Mandelstam’s terminology and his preoccupation with the physiological sensitivity of the eye. The Russian art scene was strongly influenced by French neo-Impressionist painting, in both theory and practice, and Mandelstam’s references condense a cultural moment of great prominence and influence. The chapter moves on to poems that aim to transpose onto a verbal canvas some of the lessons of these schools of painting, opening up new worlds governed by rules of art rather than rules of ideology at a time when the Soviet state was imposing canons of representation.
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Logvinenko, Igor O. "Conclusion." In Global Finance, Local Control, 123–34. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501759604.003.0007.

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This chapter paints a pessimistic picture and offers lessons for rule-of-law reformers in Russia and elsewhere seeking to address globalized kleptocracies’ rise. It emphasizes that policymakers and reformers must develop a more sober appreciation for the importance of politics in matters of economic and financial regulation. When and if another window of opportunity for reform opens, the relationship between financial integration and redistribution of assets will be at the forefront of Russian politics. The chapter also highlights two fundamental errors made by most Western advocates of the spread of free markets, at least in Russia’s case. Western advocates of the spread of free markets did not appreciate the primacy of local politics in shaping economic policies and practices. It stresses that they assumed that the direction of influence would always flow from the West to the rest, from the rule-of-law economies to the rule-of-clout countries, for the benefit of both.
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Garafola, Lynn. "Amazon of the Avant-Garde." In La Nijinska, 31–71. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603901.003.0002.

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Nijinska and her husband spend the 1914–1915 theatrical season in St. Petersburg (renamed Petrograd after Russia enters the war), where they are engaged by Narodny Dom. The following year they settle in Kiev, where they are hired to stage opera dances at the City Theater but soon begin producing evenings of ballet. In 1917 Nijinska tries to join her brother in Western Europe but because of the Russian Revolution is unable to secure travel papers. With Kochetovsky, she spends several months in Moscow, where she meets the avant-garde painter Alexandra Exter and drafts the first iteration of her treatise on movement. The family returns to Kiev where Nijinska opens the School of Movement in February 1919, only weeks after the birth of her son, Lev, and the Bolshevik invasion of the city. In the next two years Nijinska transforms her students into a performing group allied with the city’s left-wing arts community. Galvanized by her vision of a new dance, they applaud her first modernist solos and dance in her first plotless group works. Nijinska also collaborates with the avant-garde stage directors Les Kurbas and Marko Tereshchenko and with the artist Vadim Meller, whose paintings leave vivid impressions of her dancing. In 1921, with her mother and two children, Nijinska flees Ukraine and joins thousands of Russians in emigration.
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Snow, K. Mitchell. "Mexicanism Russian Style." In A Revolution in Movement, 36–54. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066554.003.0003.

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The influence of Serge Diaghilev’s Ballets Russes saturated the artistic environment inhabited by Diego Rivera and Roberto Montenegro in Paris before World War I. In predecessors to the debates surrounding nationalism in Mexico, Diaghilev explored its intersections with folk art in the pages of his magazine Mir iskusstva. Montenegro studied with Diaghilev ally Hermen Anglada who urged his disciples to use elements from their nation’s folklore to escape the hegemony of Parisian modernism. Although Rivera disparaged the Ballet Russes’s influence on Mexican art, he painted his “Mexican trophy,” a cubist Zapatista landscape with a prominent serape, in response to an exhibit of Russian folk art that had been inspired by the success of Diaghilev’s dance company. Montenegro also cited this exhibition as one of the major influences in his decision to pursue Mexican folk art as a source of inspiration.
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