Overview

Full Product Details

Author:   Maria Taroutina (Assistant Professor of Art History, Yale- NUS College, Singapore)
Publisher:   Pennsylvania State University Press
Imprint:   Pennsylvania State University Press
Dimensions:   Width: 22.90cm , Height: 25.40cm , Length: 25.40cm
Weight:   1.474kg
ISBN:  

9780271081045

ISBN 10:   027108104
Pages:   288
Publication Date:   26 November 2018
Audience:   Professional and scholarly ,  College/higher education ,  Professional & Vocational ,  Postgraduate, Research & Scholarly
Format:   Hardback
Publisher's Status:   Active
Availability:   To order  
Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us.

Table of Contents

List of Illustrations AcknowledgmentsNote on Transliteration, Translation, and DatesIntroduction1. Byzantium Reconsidered: Revivalism, Avant-Gardism, and the New Art Criticism2. From Constantinople to Moscow and St. Petersburg: Museums, Exhibitions, and Private Collections3. Angels Becoming Demons: Mikhail Vrubel's Modernist Beginnings4. Vasily Kandinsky's Iconic Subconscious and the Search for the Spiritual in Art5. Toward a New Icon: Kazimir Malevich, Vladimir Tatlin, and the Cult of NonobjectivityEpilogueNotesSelected BibliographyIndex

Reviews

Nowhere was modernist experimentation with new forms more dramatic and radical than in Russia. Maria Taroutina demonstrates how the reach toward abstraction was deeply connected with a search for the spiritual in art. The pioneering artists in this study found stimuli in medieval icons, mosaics, and frescoes; at the same time, official efforts to promote national culture focused on these Russo-Byzantine sources. Extensively documented, this book offers insights into both conservative and modernist motivations, activities, and ideas that made up the densely woven tapestry of Russian modernism. --Alison Hilton, author of Russian Folk Art Brilliantly complicates and expands our largely secular, future-oriented understanding of Russian modernism by revealing the myriad affinities that bound avant-garde artists and critics to the values of the Russo-Byzantine revival. The historiographic questions raised in this paradigm-shifting study are central to the emerging field of global modernist studies, while those interested in medieval culture and its modern revivals will find much to stimulate new thinking. --Wendy Salmond, author of Konstantin Makovsky: The Tsar's Painter in America and Paris This remarkable account tackles longstanding and resilient binaries to reveal ways in which some of the most innovative members of Russia's avant-garde willingly engaged with the cultural and political establishment and deployed medieval visual practice to galvanize modernist discourse in highly unexpected and suggestive ways. --Rosalind Polly Blakesley, author of The Russian Canvas: Painting in Imperial Russia, 1757-1881 In the 1909 essay 'New Paths in Art, ' artist and writer L on Bakst observed that Russian art could move forward only by turning back to the aesthetics of antiquity, national folklore, and even prehistory. In her audacious analysis, Maria Taroutina places luminaries of both Symbolism and the avant-garde, such as Goncharova, Malevich, Tatlin, and Vrubel, in a wide temporal framework and persuasively establishes a harmonious correlation between their radical stance and bygone cultures. --John E. Bowlt, editor of Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934

Nowhere was modernist experimentation with new forms more dramatic and radical than in Russia. Maria Taroutina demonstrates how the reach toward abstraction was deeply connected with a search for the spiritual in art. The pioneering artists in this study found stimuli in medieval icons, mosaics, and frescoes; at the same time, official efforts to promote national culture focused on these Russo-Byzantine sources. Extensively documented, this book offers insights into both conservative and modernist motivations, activities, and ideas that made up the densely woven tapestry of Russian modernism. --Alison Hilton, author of Russian Folk Art This remarkable account tackles longstanding and resilient binaries to reveal ways in which some of the most innovative members of Russia's avant-garde willingly engaged with the cultural and political establishment and deployed medieval visual practice to galvanize modernist discourse in highly unexpected and suggestive ways. --Rosalind Polly Blakesley, author of The Russian Canvas: Painting in Imperial Russia, 1757-1881 In the 1909 essay 'New Paths in Art, ' artist and writer L on Bakst observed that Russian art could move forward only by turning back to the aesthetics of antiquity, national folklore, and even prehistory. In her audacious analysis, Maria Taroutina places luminaries of both Symbolism and the avant-garde, such as Goncharova, Malevich, Tatlin, and Vrubel, in a wide temporal framework and persuasively establishes a harmonious correlation between their radical stance and bygone cultures. --John E. Bowlt, editor of Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934 Brilliantly complicates and expands our largely secular, future-oriented understanding of Russian modernism by revealing the myriad affinities that bound avant-garde artists and critics to the values of the Russo-Byzantine revival. The historiographic questions raised in this paradigm-shifting study are central to the emerging field of global modernist studies, while those interested in medieval culture and its modern revivals will find much to stimulate new thinking. --Wendy Salmond, author of Konstantin Makovsky: The Tsar's Painter in America and Paris

Nowhere was modernist experimentation with new forms more dramatic and radical than in Russia. Maria Taroutina demonstrates how the reach toward abstraction was deeply connected with a search for the spiritual in art. The pioneering artists in this study found stimuli in medieval icons, mosaics, and frescoes; at the same time, official efforts to promote national culture focused on these Russo-Byzantine sources. Extensively documented, this book offers insights into both conservative and modernist motivations, activities, and ideas that made up the densely woven tapestry of Russian modernism. --Alison Hilton, author of Russian Folk Art In the 1909 essay 'New Paths in Art, ' artist and writer L on Bakst observed that Russian art could move forward only by turning back to the aesthetics of antiquity, national folklore, and even prehistory. In her audacious analysis, Maria Taroutina places luminaries of both Symbolism and the avant-garde, such as Goncharova, Malevich, Tatlin, and Vrubel, in a wide temporal framework and persuasively establishes a harmonious correlation between their radical stance and bygone cultures. --John E. Bowlt, editor of Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934 Brilliantly complicates and expands our largely secular, future-oriented understanding of Russian modernism by revealing the myriad affinities that bound avant-garde artists and critics to the values of the Russo-Byzantine revival. The historiographic questions raised in this paradigm-shifting study are central to the emerging field of global modernist studies, while those interested in medieval culture and its modern revivals will find much to stimulate new thinking. --Wendy Salmond, author of Konstantin Makovsky: The Tsar's Painter in America and Paris This remarkable account tackles longstanding and resilient binaries to reveal ways in which some of the most innovative members of Russia's avant-garde willingly engaged with the cultural and political establishment and deployed medieval visual practice to galvanize modernist discourse in highly unexpected and suggestive ways. --Rosalind Polly Blakesley, author of The Russian Canvas: Painting in Imperial Russia, 1757-1881

Nowhere was modernist experimentation with new forms more dramatic and radical than in Russia. Maria Taroutina demonstrates how the reach toward abstraction was deeply connected with a search for the spiritual in art. The pioneering artists in this study found stimuli in medieval icons, mosaics, and frescoes; at the same time, official efforts to promote national culture focused on these Russo-Byzantine sources. Extensively documented, this book offers insights into both conservative and modernist motivations, activities, and ideas that made up the densely woven tapestry of Russian modernism. -Alison Hilton, author of Russian Folk Art Brilliantly complicates and expands our largely secular, future-oriented understanding of Russian modernism by revealing the myriad affinities that bound avant-garde artists and critics to the values of the Russo-Byzantine revival. The historiographic questions raised in this paradigm-shifting study are central to the emerging field of global modernist studies, while those interested in medieval culture and its modern revivals will find much to stimulate new thinking. -Wendy Salmond, author of Konstantin Makovsky: The Tsar's Painter in America and Paris This remarkable account tackles longstanding and resilient binaries to reveal ways in which some of the most innovative members of Russia's avant-garde willingly engaged with the cultural and political establishment and deployed medieval visual practice to galvanize modernist discourse in highly unexpected and suggestive ways. -Rosalind Polly Blakesley, author of The Russian Canvas: Painting in Imperial Russia, 1757-1881 In the 1909 essay 'New Paths in Art,' artist and writer Leon Bakst observed that Russian art could move forward only by turning back to the aesthetics of antiquity, national folklore, and even prehistory. In her audacious analysis, Maria Taroutina places luminaries of both Symbolism and the avant-garde, such as Goncharova, Malevich, Tatlin, and Vrubel, in a wide temporal framework and persuasively establishes a harmonious correlation between their radical stance and bygone cultures. -John E. Bowlt, editor of Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934

Nowhere was modernist experimentation with new forms more dramatic and radical than in Russia. Maria Taroutina demonstrates how the reach toward abstraction was deeply connected with a search for the spiritual in art. The pioneering artists in this study found stimuli in medieval icons, mosaics, and frescoes; at the same time, official efforts to promote national culture focused on these Russo-Byzantine sources. Extensively documented, this book offers insights into both conservative and modernist motivations, activities, and ideas that made up the densely woven tapestry of Russian modernism. --Alison Hilton, author of Russian Folk Art This remarkable account tackles longstanding and resilient binaries to reveal ways in which some of the most innovative members of Russia's avant-garde willingly engaged with the cultural and political establishment and deployed medieval visual practice to galvanize modernist discourse in highly unexpected and suggestive ways. --Rosalind Polly Blakesley, author of The Russian Canvas: Painting in Imperial Russia, 1757-1881 Brilliantly complicates and expands our largely secular, future-oriented understanding of Russian modernism by revealing the myriad affinities that bound avant-garde artists and critics to the values of the Russo-Byzantine revival. The historiographic questions raised in this paradigm-shifting study are central to the emerging field of global modernist studies, while those interested in medieval culture and its modern revivals will find much to stimulate new thinking. --Wendy Salmond, author of Konstantin Makovsky: The Tsar's Painter in America and Paris In the 1909 essay 'New Paths in Art, ' artist and writer L on Bakst observed that Russian art could move forward only by turning back to the aesthetics of antiquity, national folklore, and even prehistory. In her audacious analysis, Maria Taroutina places luminaries of both Symbolism and the avant-garde, such as Goncharova, Malevich, Tatlin, and Vrubel, in a wide temporal framework and persuasively establishes a harmonious correlation between their radical stance and bygone cultures. --John E. Bowlt, editor of Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934

Author Information

Maria Taroutina is Assistant Professor of Art History at Yale-NUS College in Singapore.

Tab Content 6

Author Website:  

Customer Reviews

Recent Reviews

No review item found!

Add your own review!

Countries Available

All regions