Synopses & Reviews
Written by leading scholars at the forefront of new thinking, many of whom are rising stars in their fields, the Oxford History of Art
series offers substantial and innovative texts that clarify, illuminate, and debate the critical issues at the heart of art history today. This groundbreaking series makes use of new research and methodologies, as well as newly accessible and non-canonical works, to offer comprehensive coverage of the art world. Lavishly illustrated and superbly designed, the Oxford History of Art brings new substance and verve to the exciting and ubiquitous world of art.
The latest addition to the series is a pioneering overview of the visual cultures of Eastern Europe in the modern age. Here, art historian Jeremy Howard challenges traditional definitions of what constitutes "European" art and embraces the whole spectrum of art creation, including painting, sculpture, architecture, the applied arts, photography, and performance. Avoiding conventional art historical divisions, Howard focuses on the many hidden relationships between the different art forms and artistic cultures that flourished in the vast region known as Eastern Europe, and how these cultures inter-related with the wider world. In addition to the rise and fall of the two great art academies in Vienna and St. Petersburg, Howard examines the blending of migratory and sedentary cultures in the region, the role of women, and the political manipulation of the image. He brings to the fore many overlooked artists and concentrates on neglected elements of work by better-known figures. Throughout, he reveals how the Habsburg, Romanov, and Ottoman empires vied with one another through art and how individuals and nations strove to maintain and realize their voice through visual language.
Bringing light to a woefully neglected subject, Howard has produced a work that will prove essential reading for lovers of art history and Eastern European culture.
About the Author
is a Lecturer in the School of Art History, University of St Andrews. He has specialized in the art of Eastern Europe since the early 1980s. His work has taken him to the Caucasus, Crimea, Balkans, Russia, and most art centers of central and northern Europe.
Table of Contents
Chapter 1: The Vienna Academy and its Orbits
Chapter 2: The St Petersburg Academy and its Orbits
Chapter 3: Women Emergent
Chapter 4: Women Range
Chapter 5: Circling the Square: Questions of Being and Becoming
List of Monarchs
List of Illustrations
Section One: Art Movements: Appropriation, Assimilation, and Migration
1. To Alaska and Back
2. From Baghcesary Salsabil to Bakhchisarai Foundation
3. Imaging the Kalmyk
Section Two: Academies and Courts
Part One: The Vienna Academy and its Orbits
4. From the Eighteenth Century
5. The Pozsony-Bratislava Diversion
6. Into the Nineteenth Century
7. Classicizing and Classifying Hungary
Part Two: The St Petersburg Academy and its Orbits
8. The First 'Acamedicians'
9. The Academy Founded
10. Baltic Arks
Section Three: Women Artists
11. Early Women
12. Women in the Age of Empire Dissolution: 1848-1918
13. Into the Twentieth Century
14. Russian and Soviet Experiments
15. The New Age in the Round: Two Architects, Six Sculptors
Section Four: Circling the Square: Questions of Being and Becoming
16. Warsaw Pact? Art's Battlefields