Alexandre Benois, the founder of The World of Art (Mir Iskusstva) movement, a brilliant graphic designer, a prominent art critic and historian renowned for his writings on art history, and a distinguished theatre artist who worked for Serge Diaghilev’s Russian Seasons, was fascinated with Versailles. His passion lasted over thirty years and resulted in the Versailles (Versal’) series that culminated in more than six hundred drawings, watercolors, pastels, gouaches, engravings and canvases created during two prolonged stays in France (1896-1899 and 1905-1907). Although the research on Benois’s oeuvre has expanded during the last two decades, the majority of his works have yet to be interpreted. This article examines an unexplored aspect of Versailles, a distinctive Rococo-revivalist style which Benois assimilated in France. Examined through the prism of the Europeanization of Russian art, this article will explain Rococo revivalism of Versailles in a historico-cultural context.
Print Modernism in Transition
Art Periodical Culture in Late Imperial Russia (1898-1917). Print Modernism in Transition offers a detailed exploration of the major Modernist art periodicals in late imperial Russia, the World of Art ( Mir Iskusstva, 1899-1904), The Golden Fleece ( Zolotoe runo, 1906-1909) and Apollo ( Apollon, 1909-1917). By exploring the role of art reproduction in the nineteenth century and the emergence of these innovative art journals in the turn of the century, Hanna Chuchvaha proves that these Modernist periodicals advanced the Russian graphic arts and reinforced the development of reproduction technologies and the art of printing. Offering a detailed examination of the “inaugural” issues, which included editorial positions expressed in words and images, Hanna Chuchvaha analyses the periodicals’ ideologies and explores journals as art objects appearing in their unique socio-historical context in imperial Russia.