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Full-Text Articles in Art and Design
Ellis H. Minns And Nikodim Kondakov’S The Russian Icon (1927), Wendy Salmond
Ellis H. Minns And Nikodim Kondakov’S The Russian Icon (1927), Wendy Salmond
Art Faculty Books and Book Chapters
"Kondakov’s magnum opus [The Russian Icon] failed to win an audience. Though it appeared just in time for a surge of popular interest in Russian icons abroad, it never became the book of choice for the English-speaking public seeking a guide through the ‘dark forest’ of the icon’s history... My chapter offers some suggestions for why this crude caricature of Kondakov’s work took hold in the 1920s and became axiomatic throughout the Soviet period. In particular, it considers the role that Minns’s translation may have played, however inadvertently, in cementing this impression. Minns’s interventions in and framing of …
Pavel Tretiakov’S Icons, Wendy Salmond
Pavel Tretiakov’S Icons, Wendy Salmond
Art Faculty Books and Book Chapters
"Between 1890 and his death in 1898, the Moscow art collector Pavel Tretiakov acquired sixty-two icons of the sixteenth and seventeenth centuries. With this comparatively late entry into the world of icons, Tretiakov laid the foundation for one of the world’s greatest collections of medieval Russian paintings. Why is it, then, that Tretiakov’s icons are today so rarely mentioned and so hard to find? The most practical explanation is that they were simply swallowed up into the vast repositories of the reorganized State Tretiakov Gallery in 1930, along with thousands of icons from churches and private collections nationalized afer 1917. …
An Imperial Collection: Exploring The Hammers' Icons, Wendy Salmond
An Imperial Collection: Exploring The Hammers' Icons, Wendy Salmond
Art Faculty Books and Book Chapters
"Changing hands one last time, in the 1950s, for many years the icons at BJU lived as it were incognito, the details of their glamorous origins largely forgotten. Reuniting this core group-the cream of the Hammers' imperial icons--with others that passed into American museums in the 1930s allows us to appreciate the full significance of Armand and Victor Hammer's foray into marketing icons Americans.Viewed in isolation, most of their "imperial icons" are perhaps no mo than a poignant reminder of the vast destruction and dislocation of Orthodox culture during the Soviet Cultural Revolution. Taken together, however, they paint a vivid …
Foreword To Irina Yazykova, Hidden And Triumphant: The Underground Struggle To Save Russian Iconography, Wendy Salmond
Foreword To Irina Yazykova, Hidden And Triumphant: The Underground Struggle To Save Russian Iconography, Wendy Salmond
Art Faculty Books and Book Chapters
Wendy Salmond's foreword to Irina Yazykova's Hidden and Triumphant: The Underground Struggle to Russian Iconography, in which Yazykova discusses how the art of icon painting survived during years of Russian Communism and is now poised to launch a new era that reflects modern experience.
How America Discovered Russian Icons: The Soviet Loan Exhibition Of 1930-32, Wendy Salmond
How America Discovered Russian Icons: The Soviet Loan Exhibition Of 1930-32, Wendy Salmond
Art Faculty Books and Book Chapters
On 14 October 1930, the first exhibition of Russian icons ever to take place in the United States opened at the Museum of Fine Arts in Boston. Over the next nineteen months it traveled to nine venues across the country, introducing the American public to a form of medieval painting virtually unknown outside Russia. Billed as the "Union of Soviet Socialist Republics Loan Exhibition," its avowed goal was to share with the outside world the full story of Russian icon painting's evolution from the twelfth to the nineteenth centuries, thereby adding a vital missing chapter to the history of medieval …