000			02186 a2200265 4500
001			1138271721
005			20250317100407.0
008			250312042016GB eng
020			_a9781138271722
037			_bTaylor & Francis _cGBP 52.99 _fBB
040			_a01
041			_aeng
072	7		_aAGA _2thema
072	7		_aABA _2thema
072	7		_aAC _2bic
072	7		_aABA _2bic
072	7		_aART015100 _2bisac
072	7		_a709.2 _2bisac
100	1		_aSarah Warren
245	1	0	_aMikhail Larionov and the Cultural Politics of Late Imperial Russia
250			_a1
260			_aOxford _bRoutledge _c20161128
300			_a208 p
520			_bIn 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.
999			_c1948 _d1948