Controversies and Transfigurations: Views on Russian Twentieth-Century Arts and Architecture

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Notes

1. E. Kirichenko, Russkii stil’ [Russian Style] (Moscow: Galart, 1997).

2. Grigorii Revzin, Ocherki po filosofii arkhitekturnoi formy [Essays on the Philosophy of Architectural Form] (Moscow: OGI, 2002), 41.

3. Ibid., 51.

4. See I. Dukhan, “Constructivism, Russian-German Expressionism: Concept and Style of El Lissitzky’s Works in 1920s Berlin,” Staatsbibliothek zu Berlin, Neuerwerbungen der Ostasienabteilung Sonderheft 10 (2005): 53–70.

5. Ossip Mandelstam, “O vnutrennem ellinizme v russkoi literature” [“On Inner Hellenism in Russian Literature”], Nakanune [On the Eve] 56 (1923): 3–6.

6. Ibid., 5.

7. Ibid., 5.

8. It seems instructive to compare two conceptions of Mikhail Alpatov, the experienced connoisseur of Western art. Considering the Western influences on Old Russian art, he wrote that all the samples of Western influence just confirm the principal impression from Old Russian art as a particular art world, following its peculiar laws; Mikhail Alpatov, “K voprosu o zapadnom vlianii na drevnerusskoe iskusstvo” [“On the Question of Western Influence on Old Russian Art”], in Mikhail Alpatov, Etudy po istorii russkogo iskusstva [Studies in the History of Russian Art] (Moscow: Iskusstvo, 1967), 1:112-118. Meanwhile, comparing Andrei Rublev’s “Trinity” with ancient Greek reliefs and vases, he finds a deep spiritual similarity: “On his way to the beckoning of perfection, the glimmering of Antique beauty served him as the lodestar – this is the essence of classical in Rublev”; Mikhail Alpatov, “Klassicheskaia osnova iskusstva Rubleva” [“The Classical Foundation of Rublev’s Art”], in Alpatov, Etudy po istorii russkogo iskusstva, 118.

9. Ekaterina Degot’, Russkoe iskusstvo XX veka [Russian art of the Twentieth Century] (Moscow: Trilistnik, 2002).

10. A. Zakrzhevskii, Rytsari bezumiia. Futuristy [Knights of Derangement: The Futurists] (Kiev: Petr Barskii, 1914), 4.

11. El Lissitzky, “Suprematism in World Reconstruction,” trans. in Sophie Lissitzky-Küppers, El Lissitzky: Life, Letters, Texts (New York: Thames and Hudson, 1980), 151–158.

12. Kazimir Malevich, Sobranie sochinenii v piati tomah [Collected Writings in Five Volumes] (Moscow: Gilea, 2000), 3:324.

13. Christina Lodder, Russian Constructivism (New Haven and London: Yale University Press, 1983); idem, Constructivist Strands in Russian Art, 1914–1937 (London: Pindar, 2005).

14. Gino Severini, Du Cubisme au classicisme (Paris: J. Povolozky, 1921); see also Theodore Ziolkowski, Classicism of the Twenties: Art, Music, and Literature (Chicago: University of Chicago Press, 2015).

15. Quoted in I. Dukhan, “Filosofiia klassicheskogo v iskusstve i proektnoi kul’ture modernizma” [“The Philosophy of the Classical in Modernist Art and Design”], in Voprosy filosofii [Questions of Philosophy] 6 (2009): 47.

16. See Boris Grois, Gesamtkunstwerk Stalin (Munich: Karl Hanser Verlag, 1988); translated as idem, The Total Art of Stalinism, trans. Charles Rougle (Princeton: Princeton University Press, 1992).

17. I. Dukhan, “Beyond the Holy City: Symbolic Intentions in the Avant-Garde Urban Utopia,” Jewish Art 22–23 (1997/1998): 565–75.

18. E. Degot’, “Idealistic Realism” [“Idealisticheskii realizm”], O. Aronson, “The Labor of Images” [“Trud obrazov”], in Sovetskii idealizm. Zhivopis’ i kino 1925–1939 (Liège: Musée de l’art wallon, 2005).