The Avant-garde Icon: Russian Avante-garde Art and the Icon Painting Tradition
This unusual treatment of the Russian avant-garde offers original insights into the broad and complex unfolding of Russian art up to the 1950s. Beginning with an account of the movement's origins in about 1870, and concluding with the death of Stalin, Andrew Spira demonstrates how icons underpin the development of nineteenth- and twentieth-century Russian art. The Avant-Garde Icon throws a new light on the deeper meaning and significance of icons. It adds to art-historical debates around early twentieth-century art, whilst also catering to those who have a general interest in icons and in the stunning images produced in Russia throughout this tumultuous period.
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The Iconic Techniques
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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