Cover image for Russian impressionism : paintings from the collection of the Russian Museum, 1870's-1970's.
Title:
Russian impressionism : paintings from the collection of the Russian Museum, 1870's-1970's.
Author:
Gosudarstvennyĭ russkiĭ muzeĭ (Saint Petersburg, Russia)
Publication Information:
Saint Petersburg, Russia : Palace Editions ; New York : Distributed by Harry N. Abrams, [2000]

©2000
Physical Description:
383 pages : color illustrations ; 33 cm
Language:
English
Contents:
Impressionism in Russia / From time into eternity
ISBN:
9780810967144

9785933320142

9783930775835
Format :
Book

Available:*

Library
Call Number
Material Type
Home Location
Status
Central Library N3344.A6 R87 2000 Adult Non-Fiction Non-Fiction Area-Oversize
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Summary

Summary

This work documents the explosion of Impressionism in Russia, featuring paintings that have rarely or never before been published. Accompanying essays seek to add insight to the broad range of the genre in Russia.


Reviews 3

Booklist Review

Impressionism flourished in Russia from its inception and for decades after, but who knew? As art historian and State Russian Museum curator Kruglov writes, Russian impressionist painting is "an unknown and underrated phenomena." This groundbreaking volume, which contains 340 glowing illustrations of work by 140 artists (all concisely profiled), puts an end to this neglect and presents the legions of art lovers who possess a seemingly insatiable appetite for impressionistic works with a whole new universe to explore. Both Kruglov and his colleague, Lenyashin, offer enlightening historical overviews that compare and contrast these diverse Russian painters with each other and with their European and American counterparts, and chronicle their struggles for recognition. The paintings themselves are fascinating. Russian painters tended to wield a heavier hand and use a darker palette than other impressionists, and, although their subject matter is similar, the ambiance and details are distinctly Russian, thus revealing a world long hidden from outsiders. Donna Seaman


Library Journal Review

Russia's struggles have made for much greatly admired world literature, but the country's visual arts are more problematic. This introductory book showcases a wide array of 19th- and early 20th-century artists virtually unknown outside of Russia. It takes the essentially bold step of defining Russian Impressionism as a genre for readers of English, opening up a world of uniquely Russian scenes depicted in a rich, vibrant palette. In two brief essays, the authors (both with the State Russian Museum) discuss the historical, aesthetic, and political climate that shaped this art, distinguishing it from French Impressionism, which these painters transferred to their own culture and made expressively Russian. They also discuss specific artworks in relation to one another. Following is the main body of the book, an extensive, full-color illustrated gallery of paintings from the state museum in St. Petersburg with a scattering of early black-and-white photographs that, however interesting, seem out of place. Rather lengthy and yet needing additional detail, the catalog of artists' biographies is nevertheless a good reference source. English speakers may have trouble with unfamiliar Russian names, but the paintings will provide enough attraction. This original work is a good purchase for most art book collections, especially in public, art school, and museum libraries.DEllen Bates, New York (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Choice Review

With the growing western interest in prerevolutionary Russian art, a few of the painters presented in this magnificent volume are relatively well known to a public that has seen some of them in shows of Russian "realist" painting. For most readers, however, the works on display here, drawn from the collection of the State Russian Museum in St. Petersburg, will represent a discovery, both of the artists themselves and of the broader phenomenon of Russian Impressionism. The two introductory essays place this phenomenon within the context of French Impressionism even as they justify the use of the term "impressionism" for paintings that possess their own distinctive characteristics, particularly in regard to the Russian landscape. By defining the term in relation to technique, the editors demonstrate that Russian Impressionism was not limited to the prerevolutionary period but extended well into the Soviet era. The 227 color reproductions are arranged in a broadly thematic and chronological order, but they are also grouped and identified by artist in the extensive catalog list at the end of the book. This system of cross-references works well for both general readers and specialists. General readers; undergraduate and graduate students. W. C. Brumfield; Tulane University


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