Not exact matches
Besançon first earned his reputation as a historian of Soviet politics and of Russian nationalism (toward both of which he entertains understandably dim views), and he thinks that the Russian nationalists of the
nineteenth century, among their other sins, killed the genre of
icon «painting when they began to praise the
icon's superiority over Western art.
A preview of artistic duo Walter & Zoniel's new series, The Untouched, reviving a
nineteenth -
century technique known as tintype, reflects this with life - size portraits of British
icons displayed in the Stamp Staircase alongside a video of the artists» process.
James Young, in his book At Memory's Edge, describes these changes as «a metamorphosis of the monument from the heroic, self - aggrandizing figurative
icons of the late
nineteenth century celebrating national ideals and triumphs to the anti-heroic, often ironic, and self - effacing conceptual installations.»
A select collection of Russian
icons from the late eighteenth and
nineteenth centuries is also on view.