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The Icon and the Square : Russian Modernism and the Russo-Byzantine Revival / Maria Taroutina.

By: Material type: TextTextPublisher: University Park, PA : Penn State University Press, [2018]Copyright date: ©2018Description: 1 online resource (288 p.) : 51 color/65 b&w illustrationsContent type:
Media type:
Carrier type:
ISBN:
  • 9780271082578
Subject(s): DDC classification:
  • 709.47/09034 23
LOC classification:
  • N6987 .T37 2018
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- CONTENTS -- List of Illustrations -- Acknowledgments -- Note on Transliteration, Translation, and Dates -- Introduction -- 1 Byzantium Reconsidered: Revivalism, Avant-Gardism, and the New Art Criticism -- 2 From Constantinople to Moscow and St. Petersburg: Museums, Exhibitions, and Private Collections -- 3 Angels Becoming Demons: Mikhail Vrubel’s Modernist Beginnings -- 4 Vasily Kandinsky’s Iconic Subconscious and the Search for the Spiritual in Art -- 5 Toward a New Icon: Kazimir Malevich, Vladimir Tatlin, and the Cult of Nonobjectivity -- Epilogue -- Notes -- Selected Bibliography -- Index
Summary: In The Icon and the Square, Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism. Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists.The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina’s timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780271082578

Frontmatter -- CONTENTS -- List of Illustrations -- Acknowledgments -- Note on Transliteration, Translation, and Dates -- Introduction -- 1 Byzantium Reconsidered: Revivalism, Avant-Gardism, and the New Art Criticism -- 2 From Constantinople to Moscow and St. Petersburg: Museums, Exhibitions, and Private Collections -- 3 Angels Becoming Demons: Mikhail Vrubel’s Modernist Beginnings -- 4 Vasily Kandinsky’s Iconic Subconscious and the Search for the Spiritual in Art -- 5 Toward a New Icon: Kazimir Malevich, Vladimir Tatlin, and the Cult of Nonobjectivity -- Epilogue -- Notes -- Selected Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

In The Icon and the Square, Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism. Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists.The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina’s timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Mrz 2023)

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