Cantitate/Preț
Produs

Art and Commerce in Late Imperial Russia: The Peredvizhniki, a Partnership of Artists

Autor Dr Andrey Shabanov
en Limba Engleză Paperback – 20 mar 2024
Andrey Shabanov's seminal reinterpretation of the Peredvizhniki is a comprehensive study that examines in-depth for the first time the organizational structure, self-representation, exhibitions, and critical reception of this 19th-century artistic partnership. Shabanov advances a more pragmatic reading of the Peredvizhniki, artists seeking professional and creative freedom in authoritarian Tsarist Russia. He likewise demonstrates and challenges how and why the group eventually came to be defined as a critically-minded Realist art movement. Unprecedentedly rich in new primary visual and textual sources, the book also connects afresh the Russian and Western art worlds of the period. A must-read for anyone interested in Russian art and culture, 19th-century European art, and also the history of art exhibitions, art movements, and the art market.
Citește tot Restrânge

Toate formatele și edițiile

Toate formatele și edițiile Preț Express
Paperback (1) 19219 lei  6-8 săpt.
  Bloomsbury Publishing – 20 mar 2024 19219 lei  6-8 săpt.
Hardback (1) 71860 lei  6-8 săpt.
  Bloomsbury Publishing – 9 ian 2019 71860 lei  6-8 săpt.

Preț: 19219 lei

Preț vechi: 24982 lei
-23% Nou

Puncte Express: 288

Preț estimativ în valută:
3679 3786$ 3101£

Carte tipărită la comandă

Livrare economică 01-15 martie

Preluare comenzi: 021 569.72.76

Specificații

ISBN-13: 9781350435797
ISBN-10: 1350435791
Pagini: 280
Ilustrații: 59 bw illus
Dimensiuni: 156 x 234 x 25 mm
Greutate: 0.38 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Visual Arts
Locul publicării:London, United Kingdom

Caracteristici

Analyzes the Peredvizhniki as a fundamental phenomenon for understanding Russian art, culture and society of the 19th and 20th centuries

Notă biografică

Andrey Shabanov is a Research Fellow and Lecturer in the Department of Art History at the European University at Saint Petersburg, Russia. He is a contributor to the digital resource Bloomsbury Art Markets.

Cuprins

Acknowledgements ConventionsIntroductionPart One: The Peredvizhniki Represent ThemselvesChapter 1. Commercial institutionalization, 1870-1871Chapter 2. Selling the exhibition, 1871-1897Chapter 3. Self-fashioning in group photographs, 1886-1897 Chapter 4. Revealing the art manifesto, 1888Part Two: The Peredvizhniki in the Eyes of the CriticsChapter 5. Inaugural success: the first show, 1871Chapter 6. Split with the Academy: the fifth exhibition, 1876Chapter 7. Critical point: the eleventh, twelfth, and thirteenth shows, 1883-1885 Chapter 8. Self-Defence: the Partnership's anniversary reports, 1888, 1897Conclusion: The Peredvizhniki in a broader European contextAppendices1. Charter of the Partnership for Touring Art Exhibitions, 18702. The Partnership's fifteenth-anniversary report, 18883. The Partnership's twenty-fifth-anniversary report, 18974. A list of the touring art exhibitions and statistics, 1871-1923 Selected bibliographyIndex

Recenzii

[Where] Shabanov has most succeeded is to demonstrate the diversity of works in the Peredvizhniki exhibitions. This diversity includes such aspects as the types of paintings exhibited as well as the social breadth of models represented in portraiture.
This groundbreaking work greatly advances our understanding of Russian realist painting, the professionalization of artists, and wider processes of cultural identity formation in the nineteenth century. In recovering the original ethos and agenda of the Peredvizhniki, Shabanov provides a vital revisionist account which uncovers the pragmatic and commercial nature of this well-known but long misunderstood artistic group.
In his masterful investigation Andrey Shabanov offers an alternative history of Russian Realist art. Confronting and undermining the stereotypes which have long afflicted studies of the peredvizhniki (owing in small degree to the highly tendentious social interpretations by Soviet scholars), Shabanov places artists such as Kramskoi, Perov, and Repin in the practical context of the "art market" of photographic reproduction, advertising, incorporation, and mass distribution. By providing new and often archival information on the pragmatic, promotional, and commercial aspects of the peredvizhniki, Shabanov furnishes us with a luminous and lucid account of one of Russia's primary artistic attainments.