Russian Art and the West: A Century of Dialogue in Painting, Architecture, and the Decorative Arts, edited by Rosalind R Blakesley and Susan E. ReidRussian Art and the West: A Century of Dialogue in Painting, Architecture, and the Decorative Arts, edited by Rosalind R Blakesley and Susan E. Reid. Dekalb, Illinois, Northern Illinois University Press, 2007. ix, 246 pp. $42.00 US (cloth).

2007 ◽  
Vol 42 (3) ◽  
pp. 524-526
Author(s):  
Heather D. DeHaan
Keyword(s):  
Decorative Arts ◽  
The West ◽  
Russian Art ◽  
Northern Illinois University

Modernization as Westernization? The geopolitical consequences of ethno-nationalism analyzed through Russian Art

2013 ◽  
Vol 41 (5) ◽  
pp. 744-760
Author(s):  
Tabish Shah
Keyword(s):  
Nineteenth Century ◽  
Political Behavior ◽  
Analytical Tool ◽  
Military Operations ◽  
The West ◽  
Russian Art ◽  
State Security ◽  
State Organization ◽  
Russian Identity

This paper argues that ethno-nationalist models of state organization encourage and strengthen sectarianism by accentuating differences between respective majority populations and those with non-majority characteristics as problematic, and identifies and explains the impacts of this for intra-state security in the West and for building partnerships with non-Western populations, citing negative implications on how we understand political behavior and for influence in military operations. The paper uses nineteenth-century Russian identity as a case study, considers the conflation between modernization and Westernization occuring at the time and uses Russian Art of the period as an analytical tool to uncover nuances that are relevant to debates concerning security, identity, and political behavior.

Mikhail Larionov's Still Life with Crayfish

2002 ◽  
Vol 2 (4) ◽  
pp. 10-12
Author(s):  
Sonya Bekkerman
Keyword(s):  
Critical Role ◽  
Formal Languages ◽  
Folk Art ◽  
Still Life ◽  
The West ◽  
Russian Art ◽  
Art Forms ◽  
The Stability ◽  
Line Depth ◽  
Peasant Culture

Mikhail Larionov's Still-Life with Crayfish is a result of the artist sintense engagement with Russian folk art traditions. In attempting to liberate Russian art from the influence of the West, Larionov discovered new formal languages by looking to his heritage and bringing into his paintings images derived from icons, lubki (popular prints) as well as painted shop signs and children sart. Although Larionov did not spearhead the Russian crafts revival, his participation became critical for its dissemination. Still-Life with Crayfish exemplifies Larionov's insistence on russifying Western forms. The lessons of Czanne and the bold experiments of the Fauves figure prominently;however, the artist's conception of line, depth and color is a clear reference to lubki. The strident palette reflects Eastern influences, and the feast itself conveys an essentially Russian character. Larionov spassionate interest in creating new art forms inclined him to draw upon a diversity of sources. His admiration for the stability and timelessness of Russian peasant culture, life and art played a critical role in developing his oeuvre and allowed him to create a distinctive style independent of the West without wholly rejecting it.

scholarly journals Asijské umění a umělecké řemeslo ve sbírce Západočeského muzea v Plzni

2020 ◽  
Vol 57 (1) ◽  
pp. 3-14
Author(s):  
Jindřich Mleziva
Keyword(s):  
Middle East ◽  
Decorative Arts ◽  
Late Qing Dynasty ◽  
The West ◽  
The Public ◽  
Late Qing ◽  
Woodblock Prints ◽  
History Of ◽  
Popular Subject ◽  
The 19Th Century

The collection of the West Bohemian Museum in Pilsen includes significant examples of artworks and decorative arts from Asia. The history of this collection dates back to the last quarter of the 19th century, when these items were a part of a collection of the West Bohemian Museum of Decorative Arts in Pilsen. The first director of the museum, architect Josef Škorpil (1856–1931), contributed to the creation of the decorative arts collection and the acquisition of objects from the Far and Middle East. Thanks to its acquisition activities throughout Europe, a significant decorative arts collection was established in Pilsen. Its importance goes beyond the Pilsen region. The concept of creating this collection was in accordance with the emergence of decorative arts museums in Europe. The collection, together with the Asian objects, was presented to the public as a part of an exposition opened in 1913. Today, the Asian collection consists of Chinese and Korean objects, mainly ceramics and porcelain, as well as exceptionally well-preserved textiles from the late Qing Dynasty. The Japanese portable Buddhist altar zushi or a set of Japanese woodblock prints of the ukiyo-e style are among the most unique acquisitions. A relatively modest set of items from the Middle East includes typical examples of decorative arts from Iran, Turkey or Syria. The objects are still a popular subject of research and have also become a part of the new decorative arts permanent exhibition of the museum that was opened in 2017.

scholarly journals Dialogue East/West in the Russian Avant-garde and Poetics of Primitive

2021 ◽  
pp. 201-227
Author(s):  
Nataliya Zlydneva ◽  
◽  
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Socialist Realism ◽  
The West ◽  
Russian Art ◽  
Avant Garde ◽  
The Third ◽  
Official Ideology ◽  
New Meanings ◽  
East West

The essay examines interrelation between the motif and the poetics in the visual arts, specifically,as it concerns the East / West motif and the style of primitivism in the Russian art of the twentieth century. It discussesvarious forms and meanings of this theme as presented in the works of M. Larionov, N. Goncharova, and P. Filonov. Two models are shown: the early historical avant-garde and the avant-garde of the late 1920s. If at the beginning of the century, the style is contingent on the plot and focuses mainly on the theme of the East, the primitivism of the next decade develops in the context of the Western Europeanturn towards documentary in art and therefore addresses the theme of the West. The third model describes the painting of the early 1930s when the appeal to the East, required by the order of the official ideology, gave rise to a form of primitivism as a way to escape from the pressure of socialist realism (Vasnetsov, Volkov). Conclusion: in relation to the topic East / West, primitivism acted as geopoetics of a kind, generating new meanings. Inherent dualism of the Russian culturefound a correspondence in primitivism as a borderline type of poetics.

scholarly journals The “Raku Ceramics:” Japanese Tradition in Western Interpretations of the 20th Century

2014 ◽  
pp. 136-141
Author(s):  
Anna A. Yegorova
Keyword(s):  
20Th Century ◽  
Decorative Arts ◽  
The West ◽  
Artistic Style ◽  
Technological Characteristics ◽  
History Of

Traces the history of the raku-ware tradition in Japan and reveals its influence on the Western decorative arts of the 20th century. The author distinguishes between technological characteristics of the Raku family ware and the meaning of the “raku­ware” term coined in the West for the particular artistic style and demonstrates the contribution of the Raku ware to the development of contemporary decorative arts.

scholarly journals Iranian Blue-And-White Ceramic Jar

2019 ◽  
Vol 40 (1) ◽  
pp. 121-132
Author(s):  
Jindřich Mleziva
Keyword(s):  
Decorative Arts ◽  
Museum Collections ◽  
The West ◽  
History Of

Abstract Museum collections often contain items that are inaccurately, or even wrongly, identified. This was the case of a jar belonging to a collection in the West Bohemian Museum in Pilsen. The Iranian jar was apparently acquired at the end of the 19th century and later mistakenly placed in the Chinese collection. This piece shows an interesting example of the evolution of Iranian pottery, but also of the history of the decorative arts collection in the Pilsen museum.

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