This dissertation traces the production and reception of images of nude female figures in Russia during the nineteenth century. It argues that in the Russian art world, the female nude was the subject most emblematic of Western culture. Focusing on paintings, prints, and sculptures, this project traces the change in attitudes toward images of the nude female form as nationalist sentiments began to undermine westernizing impulses over the course of the nineteenth century. It addresses works by Karl Briullov, Aleksei Venetsianov, Fedor Bruni, Timofei Neff, and Konstantin Makovskii as sites for artists and collectors to display their familiarity and identification with western artistic culture.
By focusing on the female nude in art as a marker of westernization, this project examines the large issue of Russia’s position in the geography of European art. It calls into question long-held assumptions about Russia readily assimilating Western artistic traditions, showing instead patterns of both assimilation and resistance. This project also addresses Russia’s role as both an artistic center for all of Eastern Europe and a cultural outpost on the distant periphery of Europe as a whole.
The dissertation opens by tracing the development of a Russian market for images of the nude female figure by examining elite aristocratic art collectors such as the Stroganov and Yusopov families in the eighteenth century, and new classes of collectors, including Pavel Svinin and Pavel Tretiakov in the nineteenth. The second chapter focuses on artists such as Karl Briullov and Fedor Bruni, whose nudes produced in Rome in the 1820s-40s created an incentive to artists who remained in Russia to create similar works. The third chapter uses the work of Aleksei Venetsianov as a springboard to investigate the issue of female models in Russia. The fourth chapter examines the change in critical reception of the nude brought about by the Realist movement that began in the 1860s. The fifth chapter highlights the efforts of artists such as Konstantin Makovskii, who sought to create a distinctly Russian nude by using national folklore as a pretext for their imagery.
|Commitee:||Crow, Thomas, Lubar, Robert, Valkenier, Elizabeth K.|
|School:||New York University|
|Department:||Institute of Fine Arts|
|School Location:||United States -- New York|
|Source:||DAI-A 71/07, Dissertation Abstracts International|
|Subjects:||Art history, Womens studies, Slavic Studies|
|Keywords:||Art collecting, Art criticism, Artists' models, Briullov, Karl Pavlovich, Realism, Venetsianov, Aleksei Gavrilovich|
Copyright in each Dissertation and Thesis is retained by the author. All Rights Reserved
The supplemental file or files you are about to download were provided to ProQuest by the author as part of a
dissertation or thesis. The supplemental files are provided "AS IS" without warranty. ProQuest is not responsible for the
content, format or impact on the supplemental file(s) on our system. in some cases, the file type may be unknown or
may be a .exe file. We recommend caution as you open such files.
Copyright of the original materials contained in the supplemental file is retained by the author and your access to the
supplemental files is subject to the ProQuest Terms and Conditions of use.
Depending on the size of the file(s) you are downloading, the system may take some time to download them. Please be