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Viktor Vasnetsov’s New Icons

From Abramtsevo to the Paris “Exposition Universelle” of 1900

Wendy Salmond

artists and their public. First conceived for the Church of the Savior Not Made by Human Hands at Abramtsevo, Vasnetsov’s icon paintings exemplified the Abramtsevo community’s commitment to forging a link between an imagined national past and a rapidly modernizing present. That Russia’s artistic elite

Regulating Russian Arts and Crafts

The “Second All-Russian Kustar Exhibition” of 1913

Ludmila Piters-Hofmann

with the Tercentenary. 16 The eventual solution was to use the Imperial Botanical Gardens. The new building for the herbarium and library on Aptekarskii Island was, at the time, still a building shell and the distribution of the rooms in the four-story stone building was deemed suitable for presenting

“Dreaming of Russia”

National-Romantic Features in Art Nouveau

Olga Davydova

, of course, immediately connected with the voices of history and tradition. The vision of the past confirms the presence of the invisible spirit or providenie [providence] (as it was called in the nineteenth century) in the temporal, figural images of the present. Awareness of the past, for example

Stacking National Identity

The Lucrative Legacy of the Matreshka

Helena Goscilo

toy, but as a symbol of Russianness. Similarly, western academics visiting the Soviet Union routinely received such a present from their Soviet counterparts or hosts. Revised and Capitalized Perestroika and de-Sovietization ushered in a market mentality and consequently a boom in the sale of stacking

Russia in Rome

Kokoshniki in the Collection of George Wurts and Henrietta Tower

Lucia Tonini

century. The extraordinary range of traditional head-dresses presented in the series of portraits in the collection of the Museum of Decorative Arts at the Stroganov Academy in Moscow, or portraits such as that of Maria Bariatinskaia with her daughter Olga (1817) by Robert Lefèvre, or The Portrait of

Invisible Women

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

Louise Hardiman

omission is easy to identify: in the case of applied art, the lengthy catalogue only names the manufacturers. 3 And, although its present location is unknown and no other records survive, this was very likely a product of the Abramtsevo carpentry workshops, listed under “Mme. E.G. Mamontoff” [i

Opposing Official Nationality

The Protest Operas of Savva Mamontov and Nikolai Rimsky-Korsakov

John Nelson

operas proposed by the composer. It was Mamontov’s dedication to present Russian operas to a Russian audience at affordable prices that attracted Rimsky-Korsakov, as well as Mamontov’s challenge to the dominance of the Imperial stage. Through the intervention of Rimsky-Korsakov’s former pupil, Semen

Karina Pronitcheva

after Vasnetsov’s design (fig. 2). The presenting delegation was led by Savva Morozov, the head of the committee of the Nizhnii Novgorod Fair. 7 The dish’s inscriptions read: “To the Tsar from the Merchants” and “The Nizhnii Novgorod Fair.” Figure 2 Viktor Vasnetsov, Drawing of a dish for Emperor

“The Spirit of Old Aksakov … Added to the Charm”

Early Extracts from “The Chronicle of the Abramtsevo Estate”

Savva Mamontov and Selected and introduced by Elena Mokhova

scattered some of Aksakov’s things: old furniture, as though the spirit of old Aksakov himself were present, the stories of his old servant—all of this added to the charm of the place, and the question of purchase, it seems, had already been settled. In short, we returned to Moscow in complete delight, and

Nathanaëlle Tressol

about the Russian peasant were condescending. Rural simplicity was presented as a form of primitivist inspiration, and not just in Russia. Woodcraft and embroidery were some of the folk art activities in which Abramtsevo artists were involved. For example, Maliutin and Polenova made new furniture