By Translated by Robin Milner-Gulland, Translated by Antony Wood By (author) Oleg Tarasov
ISBN-10: 1780230028
ISBN-13: 9781780230023
ISBN-10: 1861897626
ISBN-13: 9781861897626
The thought of the body in paintings can refer not just to a cloth body bordering a picture, but in addition to a conceptual body. either meanings are necessary to how the paintings is perceived. In Framing Russian Art, paintings historian Oleg Tarasov investigates the position of the body in its literal functionality of demarcating a piece of artwork and in its conceptual functionality affectingthe figuring out of what's seen.
the 1st a part of the ebook is devoted to the framework of the Russian icon. right here, Tarasov explores the old and cultural meanings of the icon’s,setting, and of the iconostasis. Tarasov’s learn then strikes via Russian and eu paintings from precedent days to the 20th century, together with summary paintings and Suprematism. alongside the way in which, Tarasov will pay unique awareness to the Russian baroque interval and the recognized 19th century Russian conflict painter Vasily Vereshchagin. This enlightening account of the cultural phenomenon of the body and its ever-changing features will entice scholars and students of Russian artwork history.
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Extra resources for Framing Russian art : from early icons to Malevich
Sample text
Meanwhile, with the appearance in Muscovite Russia during the second half of the seventeenth century of Western Latin rhetoric and Renaissance aesthetic theory, a new and formerly unwitnessed critical attitude towards the medieval model was formulated. In essence the appearance of a new rhetoric means the appearance of a new universal cultural mechanism. The central idea of this new rhetoric was belief in the universality of rules. 40 This introduction of rhetoric in the form of universal cultural guidance meant no less than the replacement in Muscovite Russia of a whole cultural tradition, which found widespread reflection in the realm of visual culture.
38 This is witnessed by his sketches for altarpieces, whose ideal proportions are emphasized by the antique beauty of their framing (illus. 15). In other words, in the Quattrocento period there emerged not only a separate material frame, but also a separate speculative and conceptual frame – the autonomous aesthetic theory of mimesis linked to it. Thus from being an inseparable part of the Gothic altarpiece the frame had turned into a means for the cognition of surrounding reality. The frame had become an instrument for revealing a simulacrum of the world to its Prototype.
47 But as well as that the curtain acquires special trust: authentic existence is ‘dimly’ revealed through the veil of that beauty, which is apprehended by prayer and reflec18 Holy Metropolitan Aleksiy and St Sergius of Radonezh, 1801. State Tretyakov Gallery, Moscow. 52 tion.
Framing Russian art : from early icons to Malevich by Translated by Robin Milner-Gulland, Translated by Antony Wood By (author) Oleg Tarasov
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