Sentences with phrase «early twentieth century russian»

Despite leaving the country during the period of Perestroika, Roiter's artistic output retains a heavy hint of his Russian past: the recurring green that recalls the pervasive Russian military, the economy of forms and materials reflective of pervasive paucity, and traces of early twentieth century Russian avant - garde influences.

Not exact matches

Thus, to invoke the Russian Church's traditions of the nineteenth and early twentieth centuries requires us to engage in historical reconstruction rather than to nurture beliefs and practices that are ongoing.

The Russian Formalists of the early twentieth century rightly pointed out that her novels exclusively follow the Cinderella plot: A young woman falls in love with a man of superior social standing and has to wait for him to make the first declaration of love ¯ to be followed, even more excruciatingly, by the hoped - for offer of marriage.

In any event, the grains were closely guarded secrets because of their health giving properties until the early twentieth century when a Russian spy was able to get some and then they quickly proliferated in Russia and Eastern Europe and now throughout the world.

For the Russian population to have risen up in the early part of the twentieth century in three revolutions, for instance, would have been that much more difficult without the saturation of decisive layers of the population by the humanizing, sensitizing efforts of, among others, Gogol, Lermontov, Turgenev, Goncharov, Ostrovsky, Dostoyevsky, Leskov and Tolstoy.

We witness the arrival of Russian settlers in the nineteenth and early twentieth centuries, soldiers and hunters who greatly diminished the tiger populations.

Peter Constantine is a literary translator and editor specializing in nineteenth - and early twentieth - century Russian literature, as well as literary...

Russian Photography after the Revolution will feature rare, large - format gelatin silver prints by Boris Ignatovich (1899 - 1976), a master of the Soviet avant - garde; Arkady Shaikhet (1898 - 1959), widely considered to be the founder of Soviet photojournalism; and Aleksandr Rodchenko (1891 - 1956), perhaps the most acclaimed figure in early twentieth - century Russian art and design; as well as Abram Shterenberg (1900 - 1979), Georgy Petrussov (1903 - 1971), Semyon Fridlyand (1905 - 1964), Sergey Shimansky (1898 - 1972), Solomon Telingater (1903 - 1969), Emmanuil Evzerikhin (1911 - 1984), Yakov Khalip (1908 - 1980), and Georgy Zelma (1906 - 1984).

The exhibition looks at the international exchange of ideas opened up by early twentieth - century Russian artists, suggesting how we might re-conceive spheres of public and private life to bring about social change.

The early part of the collection features French and Russian art from the beginning of the twentieth century, cubist paintings and superb holdings of expressionist and modern British art.

Over the following decades, Judd wrote a number of essays on Russian artists, including «Kandinsky and his Citadel,» a review of the exhibition, Vasily Kandinsky, 1866 — 1944: A Retrospective Exhibition, at the Solomon R.Guggenheim Museum in 1963; a review of Kazimir Malevich, an exhibition in 1963 also at the Guggenheim Museum; and in 1981, a long essay «Russian Art in Regard to Myself,» on the importance of Russian art of the early twentieth century for Art Journal.

Return of the Repressed looks at how artists adopted, often at great personal risk, the styles of the early twentieth - century Russian avant - garde and other modernist styles in defiance of Soviet aesthetics.