costume designs for The Snow Maiden (Chicago, 1921). A disciple
Roerich: costume designs for The Snow Maiden (Chicago, 1921). A disciple
of Stasov, Roerich believed in the Asiatic origins of Russian folk culture, as
of Stasov, Roerich believed in the Asiatic origins of Russian folk culture, as
of Stasov, Roerich believed in the Asiatic origins of Russian folk culture, as
Stasov, Roerich believed in the Asiatic origins of Russian folk culture, as
suggested hereby the heavy jewellery and the Tatar-like headgear.
suggested hereby the heavy jewellery and the Tatar- like headgear.
suggested hereby the heavy jewellery and the Tatar-like headgear.
suggested hereby the heavy jewellery and the Tatar-like headgear.
PAGAN RUSSIA. Vastly Kandinsky: Motley Life (1907). Ostensibly a Russian-Christian scene,
PAGAN RUSSIA. Vastly Kandinsky: Motley Life (1907). Ostensibly a Russian-Christian scene,
PAGAN RUSSIA. Vastly Kandinsky: Motley Life (1907). Ostensibly a Russian- Christian scene,
(1907). Ostensibly a Russian-Christian scene, the painting is filled with pagan symbols f
(1911) tells the story of the confrontation between St Stephan and the Komi shaman Pam. Li
Pam (seen escaping persecution in a boat) the two saints (standing on the rock) wear sor
Pam (seen escaping persecution in a boat) the two saints (standing on the rock) wear sor
Pam (seen escaping persecution in a boat) the two saints (standing on the rock) wear sor
Pam (seen escaping persecution in a boat) the two saints (standing on the rock) wear sor
AS SHAMAN. Left: Kandinsky: Oval No. 2 (1925). The oval shapes and hieroglyphia of Kandinsky’s
AS SHAMAN. Left: Kandinsky: Oval No. 2 (1925). The oval shapes and hieroglyphia of Kandinsky’s
AS SHAMAN. Left: Kandinsky: Oval No. 2 (1925). The oval shapes and hieroglyphia of Kandinsky’s
(1925). The oval shapes and hieroglyphia of Kandinsky’s abstract paintings were largely co
RUSSIA AND THE ASIATIC STEPPE. Isaak Levitan:
RUSSIA AND THE ASIATIC STEPPE. Isaak Levitan:
RUSSIA AND THE ASIATIC STEPPE. Isaak Levitan:
Vladimirka (1892). This was the road on which Russia’s convicts travelled
Vladimirka (1892). This was the road on which Russia’s convicts travelled
Vladimirka (1892). This was the road on which Russia’s convicts travelled
(1892). This was the road on which Russia’s convicts travelled
to their penal exile in Siberia. Below: Vasily Vereshchagin: Surprise Attack
to their penal exile in Siberia. Below: Vasily Vereshchagin: Surprise Attack
to their penal exile in Siberia. Below: Vasily Vereshchagin: Surprise Attack
to their penal exile in Siberia.
(1871). An official war artist with Russia’s army on the Turkestan
(1871). An official war artist with Russia’s army on the Turkestan
(1871). An official war artist with Russia’s army on the Turkestan
(1871). An official war artist with Russia’s army on the Turkestan
campaign, Vereshchagin’s canvases were perceived as an attack on the
campaign, Vereshchagin’s canvases were perceived as an attack on the
campaign, Vereshchagin’s canvases were perceived as an attack on the
campaign, Vereshchagin’s canvases were perceived as an attack on the
savage Russian violence against the Asian tribes.
savage Russian violence against the Asian tribes.
savage Russian violence against the Asian tribes.
savage Russian violence against the Asian tribes.
HORSES AND APOCALYPSE. Prom Pushkin’s Bronze Horseman, the
HORSES AND APOCALYPSE. Prom Pushkin’s Bronze Horseman, the
HORSES AND APOCALYPSE. Prom Pushkin’s Bronze Horseman, the
horse became the great poetic metaphor of Russia’s destiny and a symbol of apocalypse, Kuz
horse became the great poetic metaphor of Russia’s destiny and a symbol of apocalypse, Kuz
horse became the great poetic metaphor of Russia’s destiny and a symbol of apocalypse, Kuz
horse became the great poetic metaphor of Russia’s destiny and a symbol of apocalypse, Kuz
(1912), a work strongly influenced by the Russian icon tradition.
Nathan Altman: Portrait of Anna Akhmatova (1914).
Nathan Altman: Portrait of Anna Akhmatova (1914).
Nathan Altman: Portrait of Anna Akhmatova (1914).
Trans-Siberian Railway in the 1890s, Prince Ukhtomsky, the press baron and adviser to the yo
Trans-Siberian Railway in the 1890s, Prince Ukhtomsky, the press baron and adviser to the yo
Trans- Siberian Railway in the 1890s, Prince Ukhtomsky, the press baron and adviser to the yo
Russia is not only in Europe but in Asia as well… We must cast aside our servile fear that Euro
Russia is not only in Europe but in Asia as well… We must cast aside our servile fear that Euro
Russia is not only in Europe but in Asia as well… We must cast aside our servile fear that Euro
This quotation is a perfect illustration of the Russians’ tendency to define their re
This quotation is a perfect illustration of the Russians’ tendency to define their re
This quotation is a perfect illustration of the Russians’ tendency to define their re
sided with the Ottomans against Russia to defend their own imperial interests. In the onl
sided with the Ottomans against Russia to defend their own imperial interests. In the onl
sided with the Ottomans against Russia to defend their own imperial interests. In the onl
Unclear to you is her [Russia’s] predestination!
Unclear to you is her [Russia’s] predestination!
