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Invisible Women

Re-examining the Arts and Crafts of Maria V. Iakunchikova at the Paris “Exposition Universelle” of 1900

Louise Hardiman

Aleksandr Afanasiev, one of the artist’s sources, but to the “Hansel and Gretel” or “Little Red Riding Hood” archetype. In the Russian context, it evoked the long-held folk belief in the existence of the sprite or wood demon. But if folk tales had been a wellspring of inspiration for her friend

Fragile Treasures and Their “Russianness”

The Abramtsevo Ceramic Workshop

Josephine Karg

-Petrine era, which, according to Slavophile beliefs, had to be urgently revived. Vrubel was not interested in political issues. Instead, he strove to visualize feelings, moods, and processes, especially ones that could not be directly observed in daily life and were even perceived to be morally taboo, such as

Inge Wierda

Russian landscape and the men of Russia, our present and past life, our dreams and our belief, and, if we succeed, reflect the eternal and universal through our national reality. 10 Vasnetsov’s icon of Saint Sergius reflects Hegelian criteria. Examination of a recently discovered preliminary study of the

Nathanaëlle Tressol

. Especially striking is a passage in which she explains her belief in the peasant’s intrinsic and unfailing capability to create artifacts after nature: I will show the peasant, captive in his izba , who, while listening to the large stove snoring, lets himself follow the caprices of his mind while he


contradictions and paradoxes who, for example, could promote Bergsonian intuition and even the beliefs of "Blavatskaia, Besant, Bely, Soloviev" on the one hand,2 and support the notion of the human body as a working machine on the other, accommodating the most diverse scientists and artists, personalities and


Goncharova's sincere and even traditional respect for religious belief is in striking contrast to her personal behavior, non-conformist, unsuffering of everyday rules, often bohemian. After all, it was her private life which irritated the bourgeoisie and induced all manner of critical allegations that her


belief in "collective wisdom," which af- fected all members of the Association. lt is no accident that strong personalities feit constrained within the ranks of the Peredvizhniki. One example is Nikolai Ge. Innately a romantic to his dying day, he submitted to the canons of Peredvizhnik art. It was not


form of a tattoo; or it may appear on their dress or weapons as a pictograph and so on. Totemism is based on a belief in the kinship ties of the human group with a particular animal, plant or other phenomenon, even with another human being. This kind of totemism is very important to religious cults


movement and a belief in dramatic and psycho- logical naturalism-left an indelible imprint. She also observed and as- sisted Nijinsky as he choreographed his first ballets, L'Apres-midi d'un faune (1911 ), Jeux (1913), and Le Sacre du printemps (1913). Nijinsky's choreography administered the first shock


belief in the natural, biological interdepen- dence of human activities and a corresponding architecture. Later on, many of the Metabolists became prominent designers, reworking their ideas into structures which were actually built.7 The Metabolists influenced architectural development in the West, the