his studio, in the summer of 1910. 7 He depicted his model half-sitting, half reclining on a bed, thus referencing her role in the ballet as harem concubine or odalisque. Already present in the work of François Boucher (1703-70), the motif of the odalisque was widespread in early nineteenth
The Manifold Iconographic Code in Valentin Serov’s Portrait of Ida Rubinstein (1910)
Part 1: Journals
Prewar Soviet Cinema
This new collection includes Soviet film magazines and newspapers from the 1920s and 1930s, reflecting the most interesting and fertile period in the history of Russian film. Film publications were revived in the early 1920s after being interrupted in 1918 by Bolshevik censorship. In the beginning, the film press offered detailed coverage of the industry, both in the USSR and abroad, in addition to advertising western films playing on Soviet screens. Films from the west were a source of great interest and made up a significant part of the Soviet film repertoire for many years. Both film and general publications of the period presented ongoing discussions of the prudence of showing western films in the Soviet Union. This discussion was concluded by the end of the 1920s with the introduction of a partial and eventually complete ban on imported films, marking the beginning of a campaign to "proletarize" Soviet art. The newspaper Kino began exposing class enemies, formalists and anyone guilty of introducing bourgeois influences into cinematography. The mass-distributed Sovetskii Ekran was turned into a didactic weekly paper. By the mid-1930s, ideological consensus and Socialist Realism as the dominant mode in art came to the fore in film, as in all other areas of Soviet art.
Film Periodicals from the 1920s and 1930s
Film periodicals from the 1920s and 1930s are a unique source for a variety of information on the history of Soviet cinematography, and the material has yet to be fully studied and appreciated by scholars. These publications are largely absent from book collections in the West, and are now presented for the first time as a large, complete set.
Film publications shed light on the production side of Soviet cinematography, as well as on the theoretical and practical concepts developed by the period's leading directors and critics. They also highlight the role of film in Soviet cultural life. Film magazines and newspapers featured articles by leading Soviet directors (Lev Kuleshov, Sergei Eisenstein, Dziga Vertov, Aleksandr Dovzhenko, Abram Room), as well as members of the avant-garde LEF, leading authors and philologists.
In addition to the immense academic value of the publications, several magazines in particular, such as Kino-Fot, were known for their graphic art, including Aleksandr Rodchenko's first creative experiments in graphic design.
Official in-house publications are of particular interest, especially Repertuarinyi Biuilleten' (1926-1930) and Repertuarnye Sborniki (1932-1942), which offer an inside view of film censorship. Each month these two periodicals printed annotated lists of films that were prohibited or allowed for screening, as well as instructions and other regulations governing Soviet cinematography. This set also includes a number of newspapers that covered day-to-day production at the studios and not well known by Russian and foreign scholars: Lenfilm's Kadr (1930-1941), Mosfilm's Bolshevistskii Fil'm (1932-1941), Mezhrabpom's Rot-Fil'm (1933-1936) and Kinofront (1935-1936), published by the Kazan film stock factory.
Rashit Yangirov, Moscow
The book starts with an analysis of Belarusian national development from the time of the Grand Duchy of Lithuania to the short-lived Belarusian People’s Republic of 1918. The discussion turns to the crucial interwar period, when all national institutions of modern Belarus had taken shape. Belarus’s surprising ability to cope with post-Soviet economic and geopolitical changes is discussed in the final chapter.
The Philosophers and the Freudians
Anna Lisa Crone
James P. Scanlan, Professor Emeritus of Philosophy, The Ohio State University
series of large-scale theatrical productions that enlisted prominent visual artists, composers, and musicians. With the Ballets Russes now an elite commodity on the ballet stage and auction block, Diaghilev’s artistic ideas took root among the moderns. 1987 to the Present: Historicity and the End
Peter Rand and Anna Winestein
inestimable help of Lynn Garafola, and the participation of a great cast of international scholars, we were able to organize and present The Spirit of Diaghilev conference at Boston University. Now Lynn Garafola and John E. Bowlt have compiled and edited a commemoration of the conference that provides a
The Case of Viktor Popkov
-fashioned realism in the manner of Menzel” to wider horizons that included Hodler. 39 Despite the great exposure granted to Popkov within the Soviet pavilion, Italian critics failed to acknowledge the fundamental contribution of what we may call “severe romanticism.” By presenting a selected number of mostly
Reconsidering Mikhail Vrubel’s “Nativist” Aesthetics
, Vrubel’s aesthetic program had crossed multiple boundaries: geographical, temporal, material, and institutional. Accordingly, taking cue from Dmitry Sarabyanov’s pioneering publication, Russkoe iskusstvo mezhdu zapadom i vostokom [Russian Art Between the West and the East] (1997), the present article
Cvetaeva was never completely forgotten after her death in 1941, but her star began to rise in the 1960s, when (as this article shows) her work and biography began to be cited widely, and by all kinds of poets, as signs of freedom and artistic integrity. The article traces references to Cvetaeva in the works of numerous later Russian poets, beginning with the Thaw generation and moving into the post-Soviet present.
Molly Thomasy Blasing
At various points in her life Marina Tsvetaeva claimed to be indifferent to the visual arts. Scholars of her life and works have tended to take her at her word, insisting that Tsvetaeva was primarily a poet of aural sensibilities who derived little inspiration from the visual world. The present essay challenges this notion by drawing together a number of primary source texts and recent scholarly studies to suggest instead that engagement with the visual world in general, and the visual arts in particular, provided substantive and instrumental stimuli in her creative process. In particular, the essay offers evidence of the way that sculpture, painting, and photography operate as key points of departure in her creative mission to transcend the limitations of physical space and chronological time in her poetry and other writings.