Andrey Shabanov's seminal reinterpretation of the Peredvizhniki is a comprehensive study that examines in-depth for the first time the organizational structure, self-representation, exhibitions, and critical reception of this 19th-century artistic partnership. Shabanov advances a more pragmatic reading of the Peredvizhniki, artists seeking professional and creative freedom in authoritarian Tsarist Russia. He likewise demonstrates and challenges how and why the group eventually came to be defined as a critically-minded Realist art movement. Unprecedentedly rich in new primary visual and textual sources, the book also connects afresh the Russian and Western art worlds of the period. A must-read for anyone interested in Russian art and culture, 19th-century European art, and also the history of art exhibitions, art movements, and the art market.

Andrey Shabanov's seminal reinterpretation of the Peredvizhniki is a comprehensive study that examines in-depth for the first time the organizational structure, self-representation, exhibitions, and critical reception of this 19th-century artistic partnership. Shabanov advances a more pragmatic reading of the Peredvizhniki, artists seeking professional and creative freedom in authoritarian Tsarist Russia. He likewise demonstrates and challenges how and why the group eventually came to be defined as a critically-minded Realist art movement. Unprecedentedly rich in new primary visual and textual sources, the book also connects afresh the Russian and Western art worlds of the period. A must-read for anyone interested in Russian art and culture, 19th-century European art, and also the history of art exhibitions, art movements, and the art market.

In the turbulent atmosphere of early twentieth-century Tsarist Russia, avant-garde artists took advantage of a newly pluralistic culture in order to challenge orthodoxies of form as well as social prohibitions. Very few did this as effectively, or to as broad an audience, as Mikhail Larionov. This groundbreaking study examines the complete range of his work (painting, book illustration, performance, and curatorial work), and demonstrates that Larionov was taking part in a broader cultural conversation that arose out of fundamental challenges to autocratic rule. Sarah Warren brings the culture of late Imperial Russia out of obscurity, highlighting Larionov's specific interventions into conversations about nationality and empire, democracy and autocracy, and people and intelligentsia that colonized all areas of cultural production. Rather than analyzing Larionov's works within the same interpretive frameworks as those of his contemporaries in France or Germany-such as Matisse or Kirchner-Warren explores the Russian's negotiations with both nationalism and modernism. Further, this study shows that Larionov's group exhibitions, public debates, and face-painting performances were more than a derivative repetition of the techniques of the Italian Futurists. Rather, these activities were the culmination of his attempt to create a radical primitivism, one that exploited the widespread Russian desire for an authentic collective identity, while resisting imperial efforts to appropriate this revivalism to its own ends.

Arts and Crafts in Late Imperial Russia is the first account of the revival of Russia's Kustar art industries from their origins in the populist debates and philanthropic impulses of the early 1870s to their climax in 1913, with the display of their achievements at the Second All-Russian Kustar Exhibition in St Petersburg. This study uncovers the complex motivations that lead a broad cross-section of educated Russian society to devote their money, energy, and artistic skills to save Kustar arts and crafts from extinction by adapting them to satisfy the tastes of a new, well-to-do urban consumer. Focusing on the four major centres of Kustar art production, it also examines the role of the professional artist in the creative life of the peasant artist, the place of traditional culture in modern society, and the ways in which traditional gender roles affected the production of Kustar crafts.

Arts and Crafts in Late Imperial Russia is the first account of the revival of Russia's Kustar art industries from their origins in the populist debates and philanthropic impulses of the early 1870s to their climax in 1913, with the display of their achievements at the Second All-Russian Kustar Exhibition in St Petersburg. This study uncovers the complex motivations that lead a broad cross-section of educated Russian society to devote their money, energy, and artistic skills to save Kustar arts and crafts from extinction by adapting them to satisfy the tastes of a new, well-to-do urban consumer. Focusing on the four major centres of Kustar art production, it also examines the role of the professional artist in the creative life of the peasant artist, the place of traditional culture in modern society, and the ways in which traditional gender roles affected the production of Kustar crafts.