A completely revised and updated edition of Soviet Impressionism.

Seventy-seven artists are represented with paintings created at the height of their careers.

Documents the broad range of Russian Impressionism in lush colorplates & illuminating essays.

"Soviet art of the 1930s to 1980s is now considered the twentieth century's major realist school of painting. Yet, during its heyday, and thanks to the politics of the Cold War and the shortsightedness of western critics, the treasures of Soviet artists of the period remained hidden. Now art historians are turning the balance and addressing the presence of Soviet Impressionist paintings passing through the sale rooms of Europe and North America, and finding their way into museums in the West. These are testament to a powerful and vibrant school of art. Vern Swanson has given us a book which is not only illustrated with 176 colour plates, but also accompanied by an account of the tradition of painting for a proletarian society and how this developed into a full-blown form of Working-class Impressionism. The message was dictated by the policy-makers: the art should be readily understood and appreciated by the people, reflecting their hopes and aspirations for themselves and their efforts. The subject matter is the intimate life of the Soviet man, woman and child - at work in school, field, factory and mine, and at home and play."--BOOK JACKET.

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.

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.