Vasilii Maksimov: Individuality and Collectivism in Pëtr Krestonostsev’s Artel of Artists
In: Russian HistorySearch for other papers by Allison Leigh in
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Abstract
This essay explores the circumstances which led the Russian painter Vasilii Maksimov to compose an unusual group portrait in the early months of 1864. The work was painted shortly after fourteen students withdrew from the Imperial Academy of Arts in St. Petersburg and formed a cooperative association known as the St. Petersburg Artel of Artists, a commune spearheaded by the painter Ivan Kramskoi. Shortly after these events, Maksimov would join an Artel of artists established by the Academy graduate Pёtr Krestonostsev. Few scholars discuss this Artel but exploring the ways it mirrored collective ideals for artistic practice then prevalent in Paris sheds light on how homosocial networks of support rose to the fore in this historical moment. Maksimov’s 1864 group portrait records the productive conflict that resulted from artists’ desire to work with one another through discourse and collaboration in both eastern and western Europe in the period.
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| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 292 | 34 | 5 |
| Full Text Views | 31 | 1 | 0 |
| PDF Views & Downloads | 48 | 3 | 0 |
Vasilii Maksimov: Individuality and Collectivism in Pëtr Krestonostsev’s Artel of Artists
In: Russian HistorySearch for other papers by Allison Leigh in
Current site
Google Scholar
PubMed
Abstract
This essay explores the circumstances which led the Russian painter Vasilii Maksimov to compose an unusual group portrait in the early months of 1864. The work was painted shortly after fourteen students withdrew from the Imperial Academy of Arts in St. Petersburg and formed a cooperative association known as the St. Petersburg Artel of Artists, a commune spearheaded by the painter Ivan Kramskoi. Shortly after these events, Maksimov would join an Artel of artists established by the Academy graduate Pёtr Krestonostsev. Few scholars discuss this Artel but exploring the ways it mirrored collective ideals for artistic practice then prevalent in Paris sheds light on how homosocial networks of support rose to the fore in this historical moment. Maksimov’s 1864 group portrait records the productive conflict that resulted from artists’ desire to work with one another through discourse and collaboration in both eastern and western Europe in the period.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 292 | 34 | 5 |
| Full Text Views | 31 | 1 | 0 |
| PDF Views & Downloads | 48 | 3 | 0 |
