Modernism and the Spiritual in Russian Art
New Perspectives
In 1911 Vasily Kandinsky published the first edition of ‘On the Spiritual in Art', a landmark modernist treatise in which he sought to reframe the meaning of art and the true role of the artist. For many artists of late Imperial Russia - a culture deeply influenced by the regime's adoption of Byzantine Orthodoxy centuries before - questions of religion and spirituality were of paramount importance. As artists and the wider art community experimented with new ideas and interpretations at the da...
Éditeur : Open Book Publishers
Lieu d’édition : Cambridge
Publication sur OpenEdition Books : 4 juillet 2018
ISBN numérique : 979-10-365-0967-4
Collection : OBP collection
Année d’édition : 2017
ISBN (Édition imprimée) : 978-1-78374-338-4
Nombre de pages : vi + 312
Louise Hardiman et Nicola Kozicharow
1. Introduction: Modernism and the Spiritual in Russian ArtLouise Hardiman
3. ‘The Loving Labourer through Space and Time’: Aleksandra Pogosskaia, Theosophy, and Russian Arts and Crafts, c. 1900–1917Myroslava M. Mudrak
4. Kazimir Malevich, Symbolism, and Ecclesiastic OrthodoxyNina Gurianova
6. Re-imagining the Old Faith: Goncharova, Larionov, and the Cultural Traditions of Old BelieversSebastian Borkhardt
7. ‘Russian Messiah’: On the Spiritual in the Reception of Vasily Kandinsky’s Art in Germany, c. 1910–1937Nicola Kozicharow
9. Stelletsky’s Murals at Saint-Serge: Orthodoxy and the Neo-Russian Style in EmigrationIn 1911 Vasily Kandinsky published the first edition of ‘On the Spiritual in Art', a landmark modernist treatise in which he sought to reframe the meaning of art and the true role of the artist. For many artists of late Imperial Russia - a culture deeply influenced by the regime's adoption of Byzantine Orthodoxy centuries before - questions of religion and spirituality were of paramount importance. As artists and the wider art community experimented with new ideas and interpretations at the dawn of the twentieth century, their relationship with ‘the spiritual' - broadly defined - was inextricably linked to their roles as pioneers of modernism.
This diverse collection of essays introduces new and stimulating approaches to the ongoing debate as to how Russian artistic modernism engaged with questions of spirituality in the late nineteenth to mid-twentieth centuries. Ten chapters from emerging and established voices offer new perspectives on Kandinsky and other familiar names, such as Kazimir Malevich, Mikhail Larionov, and Natalia Goncharova, and introduce less well-known figures, such as the Georgian artists Ucha Japaridze and Lado Gudiashvili, and the craftswoman and art promoter Aleksandra Pogosskaia.
Prefaced by a lively and informative introduction by Louise Hardiman and Nicola Kozicharow that sets these perspectives in their historical and critical context, Modernism and the Spiritual in Russian Art: New Perspectives enriches our understanding of the modernist period and breaks new ground in its re-examination of the role of religion and spirituality in the visual arts in late Imperial Russia. Of interest to historians and enthusiasts of Russian art, culture, and religion, and those of international modernism and the avant-garde, it offers innovative readings of a history only partially explored, revealing uncharted corners and challenging long-held assumptions.
The publication of this volume has been made possible by a grant from the Scouloudi Foundation in association with the Institute of Historical Research.
Louise Hardiman is an art historian specialising in nineteenth-and twentieth-century Russian art. She is a graduate of the universities of Oxford, London, and Cambridge, where she completed a PhD on the history of Russian Arts and Crafts in late Victorian and Edwardian Britain. Her primary research concerns the history of the ‘neo-national’ movement and Anglo-Russian cultural exchange. She was consultant and catalogue contributor for the exhibition A Russian Fairy Tale: The Art and Craft of Elena Polenova (Watts Gallery, Guildford, 2014–15), and is the editor of Elena Polenova,Why the Bear Has no Tail and other Russian Folk Tales (London: Fontanka, 2014) and The Story of Synko-Filipko and other Russian Folk Tales (London: Fontanka, forthcoming). In 2016–17 she held a Postdoctoral Fellowship at the Paul Mellon Centre for Studies in British Art to work on her book The Firebird’s Flight: Russian Art in Britain, 1851–1917.
Nicola Kozicharow is the Schulman Research Fellow at Trinity Hall, Cambridge and an Affiliated Lecturer in History of Art at the University of Cambridge. She is a specialist in nineteenth-and twentieth-century European and Russian art, and her current book project is entitled Visual Culture and the Construction of Russian Émigré Identity. Her research has recently been sponsored by the Getty Research Institute and the Likhachev Foundation. Kozicharow received her PhD and MPhil from the University of Cambridge, and holds an MA from University College London, and a BA in History of Art (Honors) and Slavic Studies from Brown University.
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