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
In his seminal publication on the Stilmodern and turn-of-the-century European art, Dmitry Vladimirovich Sarabyanov asserted that Mikhail Vrubel (1856-1910) was a major innovator and visionary, who was “the first among Russian artists to have grasped the prevalent trend of European artistic
independent phenomenon. 2 Indeed, Paston has defined the Neo-Russian style as an essential facet of Russian modernism, whereas for Dmitrii Sarabianov, the Neo-Russian style existed “as a variant within the stilmodern , although it had made attempts to gain independence.” 3 These statements can be
with title lettering of the text. 19 Such a design seems to be of a type that might have come from William Morris or another member of the English Arts and Crafts movement. One would assume from this cover that the patterns and illustrations would hew toward the stilmodern , yet few, if any, of the
—combined decorative features and subjective responses to nature. By the end of the century, these works belonged to more than folk art revival; they had birthed a flexible new form of Russian art nouveau or stil’ modern .
Figure 3 Mikhail Vrubel, “Sirin” majolica bench at Abramtsevo, 1910s, detail. Photo
, see Janet Kennedy, “ ‘A Human Being Needs a Great Deal.’ Anna Golubkina and the StilModern ,” Experiment (Los Angeles), 7 (2001), 123-55.
17) See Ekaterina Khmel’nitskaia, Serafim Sud’binin. Na perelome epokh: ot moderna do Ar Deko (St. Petersburg: Chistyi list, 2010); Ekaterina Khmel
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 [ stilmodern ]? In discussing this, it is necessary to
arts taught Polenova and others to analyze actual landscapes in terms of formal relationships, patterns such as interweaving branches, contrasts between organic forms and the straight lines of architecture, the juxtaposition of filled and empty spaces—all elements of stilmodern . 24 Figure 5 Maria V
the original without merely reproducing it. 19 Also wonderfully expressive, in the spirit of stilmodern (Russia’s response to Art Nouveau), was a small shroud Vasnetsov designed for the Church of the Savior at Abramtsevo, the Moscow estate of the Mamontov family. 20
Just as Vasnetsov’s “icon