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The Organic School of the Russian Avant-Garde
The artists of the Organic School of the Russian avant-garde found inspiration as well as a model for artistic growth in the creative principles of nature. Isabel Wünsche analyzes the artistic influences, intellectual foundations, and scientific publications that shaped the formation of these artists. Particular emphasis is given to the holistic worldviews and organic approaches prevalent among artists of the pre-revolutionary avant-garde and the emergence of the concept of Organic Culture.
The Organic School of the Russian Avant-Garde
The artists of the Organic School of the Russian avant-garde found inspiration as well as a model for artistic growth in the creative principles of nature. Isabel W?nsche analyzes the artistic influences, intellectual foundations, and scientific publications that shaped the formation of these artists, the majority of whom were based in St. Petersburg. Particular emphasis is given to the holistic worldviews and organic approaches prevalent among artists of the pre-revolutionary avant-garde, specifically Jan Ciaglinski, Nikolai Kulbin, and Elena Guro, as well as the emergence of the concept of Organic Culture as developed by Mikhail Matiushin, practiced at the State Institute of Artistic Cultu...
Encyclopaedia of Contemporary Russian
The Encyclopedia is an invaluable resource on recent and contemporary Russian culture and history for students, teachers, and researchers across the disciplines.
Utopia
Utopian hope and dystopian despair are characteristic features of modernism and the avant-garde. Readings of the avant-garde have frequently sought to identify utopian moments coded in its works and activities as optimistic signs of a possible future social life, or as the attempt to preserve hope against the closure of an emergent dystopian present. The fourth volume of the EAM series, European Avant-Garde and Modernism Studies, casts light on the history, theory and actuality of the utopian and dystopian strands which run through European modernism and the avant-garde from the late 19th to the 21st century. The book’s varied and carefully selected contributions, written by experts from around 20 countries, seek to answer such questions as: · how have modernism and the avant-garde responded to historical circumstance in mapping the form of possible futures for humanity? · how have avant-garde and modernist works presented ideals of living as alternatives to the present? · how have avant-gardists acted with or against the state to remodel human life or to resist the instrumental reduction of life by administration and industrialisation?
Soviet Union
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Archives in Russia: A Directory and Bibliographic Guide to Holdings in Moscow and St.Petersburg
This is a comprehensive directory and bibliographic guide to Russian archives and manuscript repositories in the capital cities of Moscow and St. Petersburg. It is an essential resource for any researcher interested in Russian sources for topics in diplomatic, military, and church history; art; dance; film; literature; science; ethnolography; and geography. The first part lists general bibliographies of relevant reference literature, directories, bibliographic works, and specialized subject-related sources. In the following sections of the directory, archival listings are grouped in institutional categories. Coverage includes federal, ministerial, agency, presidential, local, university, Academy of Sciences, organizational, library, and museum holdings. Individual entries include the name of the repository (in Russian and English), basic information on location, staffing, institutional history, holdings, access, and finding aids. More comprehensive and up-to-date than the 1997 Russian Version, this edition includes Web-site information, dozens of additional repositories, several hundred more bibliographical entries, coverage of reorganization issues, four indexes, and a glossary.
The Russian Avant-garde in the 1920s-1930s
At the beginning of the twentieth century, Russian art was in the vanguard of the world artistic process. The decades which had gone into renewing painting in France were compressed into ten to fifteen years in Russia. The 1910s unfolded under the sign of the growing influence of Cubism, which changed the very face of the fine arts. Yet by 1913, a turning point could be seen. New plastic problems arose, opening for Russian painters a way into the unknown. The scales began to tip in the direction of the Russian avant-garde.
