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Languages : en
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Author:
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Category :
Languages : en
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Author: P. Verdier
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Category :
Languages : en
Pages :
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Author: Walters Art Gallery (Baltimore, Md.)
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Category : Art objects, Russian
Languages : en
Pages : 0
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Author:
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ISBN:
Category : Art objects, Russian
Languages : en
Pages : 86
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Author: Walters Art Gallery (Baltimore, Md.)
Publisher:
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Category : Art museums
Languages : en
Pages : 102
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Author: Walters Art Gallery (Baltimore, Md.)
Publisher:
ISBN:
Category : Art objects, Russian
Languages : en
Pages : 86
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Author: Philippe Verdier
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Category :
Languages : en
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Author: Oleg Tarasov
Publisher: Reaktion Books
ISBN: 1780230028
Category : Art
Languages : en
Pages : 418
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Book Description
The notion of the frame in art can refer not only to a material frame bordering an image, but also to a conceptual frame. Both meanings are essential to how the work is perceived. In Framing Russian Art, art historian Oleg Tarasov investigates the role of the frame in its literal function of demarcating a work of art and in its conceptual function affectingthe understanding of what is seen. The first part of the book is dedicated to the framework of the Russian icon. Here, Tarasov explores the historical and cultural meanings of the icon’s,setting, and of the iconostasis. Tarasov’s study then moves through Russian and European art from ancient times to the twentieth century, including abstract art and Suprematism. Along the way, Tarasov pays special attention to the Russian baroque period and the famous nineteenth century Russian battle painter Vasily Vereshchagin. This enlightening account of the cultural phenomenon of the frame and its ever-changing functions will appeal to students and scholars of Russian art history.
Author: George R. Hann
Publisher:
ISBN:
Category : Art objects
Languages : en
Pages : 134
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Author: Gerol'd I. Vzdornov
Publisher: BRILL
ISBN: 9004305270
Category : Art
Languages : en
Pages : 446
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Book Description
This is the first study in any language to trace the emergence of the art historical interest in icon painting in the nineteenth century with its evident impact on the course of Russian modernism in the twentieth century. Given the surge in popularity of the Russian avant-garde, a book devoted to the gradual awareness of the artistic value of icons and their effect on Russian aesthetics is timely. The discoveries, the false starts, the incompetence, the interaction of dilettantes and academics, the meddling of tsars and church officials, all make for a fascinating tale of growing cultural awarenss. It is a story that prepares the ground for the explosioin of Russian cultural creativity and acceptability in the early twentieth century.
