The Avant-Garde Icon: Russian Avant-Garde Art and the Icon Painting Tradition
This book looks at the relationship between traditional icon painting and the art of the Russian avant-garde. Although artists repudiated their heritage in line with the political and social climate their work shows unmistakable influence of iconic paintings. Important artists such as Malevich and Tatlin are considered and their oeuvre examined to identify the stylistic borrowing from icons. It includes a history of the avant-garde in Russia, the psychology between 1917 and the 1950s and the impact of the spirituality of Russian orthodoxy.
19 pages matching Florensky in this book
Results 1-3 of 19
What people are saying - Write a review
The Iconic Techniques
2 other sections not shown
Abramtsevo abstract aesthetic Alexander ancient Andrei Rublev artists associated avant-garde became believed Black Square Byzantine century Tempera Christian colour composition contemporary context corner create cross Cubism cult David King Collection decorative depicted despite developed dimension dynamic exhibition expressive figures film Florensky frescos Gabo Goncharova Holy human Ibid icon painting iconography iconostasis ideal impact impression influence instance interest in icons Kazimir Malevich Larionov Lenin London mandylion medieval Mikhail Mikhail Larionov Moscow Mother narrative Natalia Goncharova neo-primitivist non-objectivity objects Oil on canvas Old Testament Trinity Orthodox Church Ouspensky painters peasants Plate political posters potential purely realised reality reflected religious representation represented Rodchenko Russian art Russian icons Russian Museum sacred saints seen sense significance Soviet spiritual St Petersburg Stalin style stylised subject matter Suprematism Suprematist symbolic Tatlin Tempera on wooden tion tradition Tretyakov Gallery Uitz Vasnetsov viewer Viktor Vasnetsov visual VKhUTEMAS Vladimir Vladimir Tatlin Vrubel wooden panel