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ANATOLII STRIGALEV

contain much information about Rudovich, limiting the description to a general appreciation of the relevant balletic numbers: "Lukin presented interpretations of Scriabin which were impec- cable as they were unexpected. The moral establishment discerned only morbid eroticism in his impeccable

VASILII KANDINSKY

international or universal, this element is also present. An artist wishes to express himself and involuntarily will express his own epoch. He cannot help but do this. He cannot fail to do so. Finally, the third element, the purely artistic element which, as it were, peers out from behind the first two through

VASILII ZUBOV

The word ideal is often used in relation to will, and refers to any pur- pose or goal which guides that will. However, almost as often the appli- cation of the term is limited to contexts where the notion of perfection is present. Corresponding ideals are: 1 ) the goals of the perfect ("moral

ANDREAS HÜNEKE

's name." So, Kandinsky appears to have remained present and to have followed with sym- pathy the late development of his young friend. I can imagine that Reichel would have been pleased by this thought. In 1937, in his "Letter for Goster- sools," he wrote: "There is no 'oeuvre de la creation' in the

KARL TOEPFER

ballet was a decorative set of bodies from which or into which emerged soloists whose superior virtuosity constituted .. the standard for measuring mastery of the rules (fig. 2). Group movement could be complex, but it pervasively presented groups (or "societies") as a collection of bodies unified by

EKATERINA BELOVA

group of portable screens, which he moved around during the performance, thereby changing the designation of locus. He also painted small curtains which served as decorative backgrounds for the miniature During its year of activity, the Organizing Committee presented a few recitals, which generated

YURI TSIVIAN

., Russian Theatre in the Age of Modernism (New York: St. Martin's Press, 1991), pp. 33-37. dance, the tango, inevitably, passed into the ballroom, and midget theaters-boasting an air of "intimacy" between the performer and the spectator-presented an ideal venue for a "hands-on" show. Throughout December

ROSE-CAROL WASHTON LONG

Footnotes *Portions of this article were first presented at the Thirteenth World Congress of Jewish Studies, Jerusalem, August 13, 2001. 1. See, for example, N. L. Kleeblatt, ed., The Dreyfus Affair: Art, Truth, aud Justice (Berkeley: Univ. of California Press, 1987) and Zwischen Hauj3e

MISLER NICOLETTA

the Scientific-Artistic Commission.25 In other words, even if Kandinsky presented his plan for the establishment of a Physico- Psychological Department at the future RAKhN only in June 1921,26 it al- ready existed in embryo. Headed by Kandinsky, the first working commis- sion, which included Aleksandr

LESLEY-ANNE SAYERS

ballet would show the breakdown of the Tsarist regime: meetings of workers, speeches by commissars, trains full of black market goods, a former princess bartering her possessions for food, a revolutionary sailor and homeless waifs. The second part would present a picture of Socialist reconstruction, the