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obvious that “fantastic flowers and grasses [. . .] coil and interwine;” there are “swamp grasses, pebbles and algae—all highly stylized;” all are set against the background of “dark night,” “clouds,” and “stars.” The work was commissioned as part of a decorative scheme for a dining room in the neo-Russian

In: Experiment

Hands], constructed by the members of the Abramtsevo circle (1881-82, designed by Viktor Vasnetsov and Vasilii Polenov), and its chapel (1892, designed by Viktor Vasnetsov) became the first exemplars of the Neo-Russian style in the history of Russian architecture, an important constituent of stil

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the style of Scandinavian Art Nouveau at the estate he founded on the banks of the Oka River near Tula; and his only urban project—the House of Theatrical Enlightenment in Moscow. Polenov pursued the Neo-Russian style with particular alacrity in the sphere of church architecture, which is the focus of

In: Experiment

workshop—the first workshop studio to be established at the estate in 1876, which would later also house the ceramics studio—was erected in Abramtsevo in 1873. 4 It was designed by the architect Viktor Eduard Gartman, who became one of the main architects of the Neo-Russian style. At first, the ceramics

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of the Neo-Russian style, to undertake the investigation and preservation of lace as he feared this needle-art was losing its prestige throughout the empire. 1 Davydova undertook the task with genuine enthusiasm and traveled “[the] length and breadth of Russia to study, in detail, one of the most

In: Experiment

fertile and universal field for artistic experimentation at the turn of the twentieth century and, moreover, served as one of the sources for the formation of the National Romantic trend, the so-called “Neo-Russian style,” in Russian Art Nouveau [ stil modern ]? In discussing this, it is necessary to

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: a narrowly circumscribed nationalism on the one hand and a slavish imitation of Western styles and subjects on the other. Although today his œuvre is most often discussed within the context of Russian symbolism and the neo-Russian style associated with the Abramtsevo and Talashkino artistic colonies

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the remains of paradise on earth—are also reminiscent of Vasnetsov’s role in the invention of the Neo-Russian Style, with its expressive ornamentation. The overall effect is at once decorative and austere, the white ground echoing the white habit of the order of Mary and Martha that Elizaveta

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pageants. Diaghilev’s choices demonstrate that the old attraction for a “neo-Russianstyle and the appeal of genuine pre-Petrine art still lingered, if not for much longer. (Both Ivan Bilibin and Nicholas Roerich, advocates for both in their paintings, had been exhibiting with the World of Art for

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The Neo-Russian Style and Civilian Dress under Tsar Alexander II The Russian (or Neo-Russian) style was formed during the reign of Tsar Alexander III (1881-94) and with his direct participation. However, the idea of the Neo-Russian style had begun to manifest itself earlier, during the reign of

In: Experiment