Framing Russian art : from early icons to Malevich
著者
書誌事項
Framing Russian art : from early icons to Malevich
Reaktion Books, c2011
- タイトル別名
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Rama i obraz
大学図書館所蔵 全2件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Originally published: Progress-Traditsiya , 2007
Bibliography: p. 395-408
Includes index
内容説明・目次
内容説明
@font-face { font-family: Times New Roman ; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Helvetica; }table.MsoNormalTable { font-size: 10pt; font-family: Times New Roman ; }div.Section1 { page: Section1; } The role of the frame in art can refer to a material frame bordering an image and to a conceptual frame - a text, for instance, which is to serve as a commentary to the visual image. What is the meaning of a frame in our understanding of what we see? Why, in some cases, does a frame seem necessary, while in others artists deliberately remove it? In Framing Russian Art, Oleg Tarasov investigates the role of the frame both literally and conceptually, both in the organization of the artistic space of a work of art and in the very perception of a visual image - an icon, a building, a painting, an etching or a photograph.
Part One is dedicated to exploring the frame of the Russian icon and related arks, folding images and prints, from the Middle Ages to the late nineteenth century, including analyses of Grigoriy Shumayev's vast and extraordinary Baroque masterpiece, which he called 'the iconostasis of the life-giving Cross', and the sumptuous blending of medievalism and late Romanticism in the Church Not Made by Hands at Savva Mamontov's estate of Abramtsevo outside Moscow. Part Two examines the successive roles of the frame in Baroque imperial portraiture, the dynastic grandiloquence of the nineteenth century, the impact of Western ideas and new technology (photography in particular) on the celebrated battle painter Vasiliy Vereshchagin, and finally the impact of the vanishing frame in abstract art and Modernism. A captivating account of the cultural phenomenon of the frame and its ever-changing functions, this book will open many new vistas for students and scholars of Russian culture and art history.
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