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Viktor Vasnetsov’s New Icons

From Abramtsevo to the Paris “Exposition Universelle” of 1900

Wendy Salmond

French archaeologist and Russophile Baron Joseph de Baye, who took on the task of promoting Vasnetsov’s religious painting in France. 15 De Baye was among the first to frame the artist’s religious vision in the light of a long-awaited reconciliation of Imperial Russia’s divided cultural legacy. De Baye

Russia in Rome

Kokoshniki in the Collection of George Wurts and Henrietta Tower

Lucia Tonini

for sharing her unpublished dissertation: Lyubov Ginsburg, “Confronting the Cold War Legacy: The Forgotten History of the American Colony in St. Petersburg (A Case Study of Reconciliation)” (PhD diss., University of Kansas, Lawrence, KS, 2010). I also thank Professor Vladimir Noskov of St. Petersburg


to a promising start, and with this stabi- lization came some degree of esthetic and philosophical reconciliation on the torn and belabored theatrical front. True, few of the aggressive slogans of the so called Theatrical October from the great era of Sturm und Drang remained and academic art was


abstract categories of action, such as leaping, spinning, and skipping. For Elisabeth, group movement was in itself an ecstatic experience inscfar as it was supremely playful. Yet she aligned this playfulness to a rear .ionary political ideology. Group movement embodied a reconciliation between a mythic