For nearly 60 years, two renowned artist-brothers have painted together, often on the same canvas, chronicling one of history's most dramatic periods through the eyes of Russian villagers. Impressionists Sergei and Aleksei Tkachev have been awarded the most coveted prizes in the art world of the former USSR and the Russian Federation, telling their nation's stories as they lived it under Communism, perestroika and the current system as it struggles toward democracy. This is the first book in the English language to be published on these remarkable brothers. Their paintings, all reproduced in color, are scenes of collective happiness and collective farms; of gorgeous landscapes and ravaged faces; of tremendous joy and overwhelming tragedy. Few artists have such vast resources on which to draw; even fewer have the immense talent to reproduce their memoirs so eloquently in oil. Photographs from their personal album acquaint the reader with family and other leading artists with whom they painted at the Academic Dacha. Now nearing 80, they continue to lavish themselves on their canvases with great zeal and dedication. The art world is richer for it. To order contact TMORA, 11300 Hampshire Av. S., Bloomington, MN 55438, 952-914-0200. V, MC, AE accepted. Or email: [email protected]. Price: $60 plus $7.50 shipping and Minnesota sales tax $3.90.

The 1860s were marked by a strong realistic movement in Russian painting. Artists became interested in depicting the lives and customs of their fellow countrymen. This new art form was mostly the work of the Itinerants group, who wanted to take art to the people and paint the outdoors. Mikhail Guerman traces the converging lines of Russian and French art in the immensely fertile period of the late 19th and early 20th century.

Defining an artistic era or movement is often a difficult task, as one tries to group individualistic expressions and artwork under one broad brush. Such is the case with impressionism, which culls together the art of a multitude of painters in the mid-19th century, including Monet, Cézanne, Renoir, Degas, and van Gogh. Basically, impressionism involved the shedding of traditional painting methods. The subjects of art were taken from everyday life, as opposed to the pages of mythology and history. In addition, each artist painted to express feelings of the moment instead of hewing to time-honoured standards. This description of impressionism, obviously, is quite broad and can apply to a wide array of styles. Nonetheless, it remains a very important school in the annals of art. Any current or budding art aficionado should become familiar with the impressionist movement and its impact on the art world. This book presents a sweeping study of this artistic period, from its origins to its manifestations in the works of some of art history's most revered painters. Following this overview is a substantial and selective bibliography, featuring access through author, title, and subject indexes.

A completely revised and updated edition of Soviet Impressionism.

This companion comprises 28 essays by international scholars offering an analytical overview of the development of Russian history from the earliest Slavs through to the present day. Includes essays by both prominent and emerging scholars from Russia, Great Britain, the US, and Canada Analyzes the entire sweep of Russian history from debates over how to identify the earliest Slavs, through the Yeltsin Era, and future prospects for post-Soviet Russia Offers an extensive review of the medieval period, religion, culture, and the experiences of ordinary people Offers a balanced review of both traditional and cutting-edge topics, demonstrating the range and dynamism of the field

From the first Modernist exhibitions in the late 1890s to the Soviet rupture with the West in the mid-1930s, Russian artists and writers came into wide contact with modern European art and ideas. Introducing a wealth of little-known material set in an illuminating interpretive context, this sourcebook presents Russian and Soviet views of Western art during this critical period of cultural transformation. The writings document complex responses to these works and ideas before the Russians lost contact with them almost entirely. Many of these writings have been unavailable to foreign readers and, until recently, were not widely known even to Russian scholars. Both an important reference and a valuable resource for classrooms, the book includes an introductory essay and shorter introductions to the individual sections.

The 1860s were marked by a strong realistic movement in Russian painting. Artists became interested in depicting the lives and customs of their fellow countryman. This new art form was mostly the work of the itinerants group, who wanted to take art to the people and paint the outdoors. Mikhail Guerman here traces the converging lines of Russian and French art in the immensely fertile period of the late 19th and early 20th century.

Impressionism -- the interpretation of nature through color and light -- was the most powerful influence on American painters until after World War II. William H. Gerdts offers here an overview of the movement, followed by 66 superb full-page colorplates, each accompanied by an informative commentary. He begins with Mary Cassatt and moves to John Singer Sargent. Discussed next are the artists who worked in Giverny, France, under the influence of Money -- Theodore Robinson, John Leslie Breck, and Dawson Dawson-Watson. Gerdts then considers Childe Hassam, Julian Alden Weir, William Merritt Chase, and John Twachtman, as well as various groups such as the Old Lyme, Connecticut, art colony; the Society of Ozark Painters, and artists working on the West Coast. He concludes with the second generation of Americans in Giverny, Frederick Frieseke and Richard Miller. -- Form publisher's description.