ARTISTS. Nikolai Argunov: Portrait of Praskovya Sheremeteva (1802). At the time
SERF ARTISTS. Nikolai Argunov: Portrait of Praskovya Sheremeteva (1802). At the time
SERF ARTISTS. Nikolai Argunov: Portrait of Praskovya Sheremeteva (1802). At the time
(1802). At the time of this portrait the serf singer’s marriage to Count Sheremetev (whos
Left: Vasily Tropinin: Portrait of Pushkin (1827). Wearing a khalat, the writer is portra
Left: Vasily Tropinin: Portrait of Pushkin (1827). Wearing a khalat, the writer is portra
Left: Vasily Tropinin: Portrait of Pushkin (1827). Wearing a khalat, the writer is portra
the writer is portrayed as a European gentleman yet perfectly at ease with the customs of h
Below: Alexei Venetsianov: Morning of the Lady of the Manor (1823), a picture of what Herze
Below: Alexei Venetsianov: Morning of the Lady of the Manor (1823), a picture of what Herze
Below: Alexei Venetsianov: Morning of the Lady of the Manor (1823), a picture of what Herze
(1823), a picture of what Herzen called the ‘feudal bond of affection’ between the noble
RUSSIAN PASTORAL. Above: Venetsianov: In the Ploughed Field: Spring
RUSSIAN PASTORAL. Above: Venetsianov: In the Ploughed Field: Spring
RUSSIAN PASTORAL. Above: Venetsianov: In the Ploughed Field: Spring
1827), an idealized depiction of the female agricultural labourer in traditional Rus
1827), an idealized depiction of the female agricultural labourer in traditional Rus
1827), an idealized depiction of the female agricultural labourer in traditional Rus
1827), an idealized depiction of the female agricultural labourer in traditional Rus
(1871). Like Turgenev, Perov portrays hunting as a recreation that brought the social cl
MOSCOW RETROSPECT. Above: The Kremlin’s Terem Palace
MOSCOW RETROSPECT. Above: The Kremlin’s Terem Palace
MOSCOW RETROSPECT. Above: The Kremlin’s Terem Palace
restored in the1850s by Fedor Solntsev in the seventeenth-century Muscovite
restored in the1850s by Fedor Solntsev in the seventeenth-century Muscovite
restored in the1850s by Fedor Solntsev in the seventeenth-century Muscovite
by Fedor Solntsev in the seventeenth-century Muscovite
style, complete with tiled ovens and kokoshnik-shaped arches. Below: Vasily
style, complete with tiled ovens and kokoshnik-shaped arches. Below: Vasily
style, complete with tiled ovens and kokoshnik-shaped arches. Below: Vasily
style, complete with tiled ovens and
Surikov: The Boyar’s Wife Morozova (1884). The faces were all drawn by
Surikov: The Boyar’s Wife Morozova (1884). The faces were all drawn by
Surikov: The Boyar’s Wife Morozova (1884). The faces were all drawn by
(1884). The faces were all drawn by
Surikov from Old Believers living in Moscow.
Surikov from Old Believers living in Moscow.
Surikov from Old Believers living in Moscow.
Surikov from Old Believers living in Moscow.
The Faberge Workshop in Moscow crafted objects in a Russian style that was very different
The Faberge Workshop in Moscow crafted objects in a Russian style that was very different
The Faberge Workshop in Moscow crafted objects in a Russian style that was very different
The Faberge Workshop in Moscow crafted objects in a Russian style that was very different
Imperial Presentation Kovsh (an ancient type of ladle) in green nephrite, gold, enamel
siren vase by Sergei Vashkov (1908). The female bird wears a
wings are set with tourmalines.
wings are set with tourmalines.
wings are set with tourmalines.
wings are set with tourmalines.
CAUSE. Ilya Repin’s Portrait of Vladimir Stasov (1873), the nationalist critic whose do
CAUSE. Ilya Repin’s Portrait of Vladimir Stasov (1873), the nationalist critic whose do
CAUSE. Ilya Repin’s Portrait of Vladimir Stasov (1873), the nationalist critic whose do
the nationalist critic whose dogmatic views on the need for art to engage with the peop
Stasov saw the painting as a commen- tary on the latent force of social protest in the Rus
(1874) - a startlingly ethnographic portrait of the peasant as an individual human bein
Leon Bakst: Portrait of Diaghilev with his Nanny (1906). Diaghilev had never known his mot
Leon Bakst: Portrait of Diaghilev with his Nanny (1906). Diaghilev had never known his mot
Leon Bakst: Portrait of Diaghilev with his Nanny (1906). Diaghilev had never known his mot
(1906). Diaghilev had never known his mother, who had died when he was born.
Writers, too, immersed themselves in peasant life. In the words of Saltykov-Shchedrin, the p
Writers, too, immersed themselves in peasant life. In the words of Saltykov-Shchedrin, the p
Writers, too, immersed themselves in peasant life. In the words of Saltykov-Shchedrin, the p
Sketches from a Hunter’s Album.
Sketches from a Hunter’s Album
Of all those writing about peasants, none was more inspiring to
Of all those writing about peasants, none was more inspiring to
Of all those writing about peasants, none was more inspiring to
the Populists than Nikolai Nekrasov. Nekrasov’s poetry gave a new, authentic voice to t
the Populists than Nikolai Nekrasov. Nekrasov’s poetry gave a new, authentic voice to t
the Populists than Nikolai Nekrasov. Nekrasov’s poetry gave a new, authentic voice to t
the people’s cause, but its angry condemnation of the gentry
