Art Periodical Culture in Late Imperial Russia (1898-1917)

Hanna Chuchvaha, PhD (2012), University of Alberta, Canada, is contract academic staff member at that university and teaches history of art, design and visual culture. She has published articles on Russian painting, Ukrainian textiles and Belarusian dress, book reviews and translations.

• AcknowledgementsList of FiguresIntroductionThe Materiality of the Book and Gérard Genette’s ThresholdsWord-Image IntermedialityArt Journals in the Cultural Context and Structure of the BookChapter I: When Russia Learned to Reproduce Art: Graphic Design, Materials and Printing Techniques in Nineteenth-Century Imperial RussiaEarly Russian Periodical DesignThe Popular Illustrated Press in the Nineteenth CenturyArt Periodicals in Imperial RussiaThe “Age of Mechanical Reproduction” in Russia: Reproduction Techniques in Historical PerspectiveThe Periodical Personalised: Cover Pages and BindingThe Periodical Press and CensorshipConclusionChapter II: World of Art and the Origins of the Print Revival in Late Imperial RussiaThe World of Art in ScholarshipEmergence of the World of Art in the Cultural-Historical ContextThe Art Periodical Press before the World of Art: Art and Art IndustryAbramtsevo and Talashkino, the Arts and Crafts MovementThe Modern StyleThe “Circle” of Art-Lovers and the Emergence of the World of ArtVladimir Stasov vs. Sergei DiaghilevEditorial Board: Sergei Diaghilev vs. Alexandre Benois and Other Participants of the World of ArtThe Patrons of the World of Art and the Journal’s ClosureThe Editorial Mission StatementThe World of Art and its Paratextual Qualities: Materiality and the Visual in the Context of the Editorial Mission Statement and Other TextsA European Type JournalThe Title and LogoThe Cover Page Graphic Design and Art Reproduction: Abramtsevo and Viktor Vasnetsov in the World of ArtToward EuropeanismViewing vs. Reading: Word-Image IntermedialityConclusionChapter III: The Golden Fleece or Russia’s "Très Riches Heures"The Golden Fleece in ScholarshipThe Golden Fleece: The Art-Historical ContextThe Russian Art Periodical Press after the World of ArtNikolai Riabushinskii: Publisher, Editor-in-chief and Art PatronMain ContributorsThe Bilingual Presentation of Russian CosmopolitanismThe Editorial StatementReception of the Journal by ContemporariesThe Golden Fleece: the Paratextual DimensionExtravagance in the ‘Time of Troubles’: From ‘Materialism’ to Materiality’The Title: Meaning and SourcesThe Cover Page: Visual Sources and SymbolismThe Art ReproductionsThe World of Art in The Golden Fleece: Graphic Design and IllustrationSymbolist IllustrationConclusionChapter IV: Apollo: Between “Archaism” and ModernismApollo in ScholarshipContextual Preconditions for Apollo: Classical Revival Tendencies and the New Paradigm for Book ArtClassical Revival: the TermSergei Makovskii and the Birth of ApolloApollo’s Contributors: Creating a Group IdentityApollonian / Dionysian“In Expectation of the Hymn to Apollo”Dance: the Apollonian GesamtkunstwerkArt as TheurgyApollonian Satire: "The Bees and Wasps of Apollo"Articulating a Paradigm for Book Art: Alexandre Benois’s “The Objectives of Graphic Art”Apollo and its Textual and Paratextual Standards: Materiality, Archeology of the Visual and ApollonianismMateriality, the Title and the Cover PageThe Title Page: Connecting Greek Archaism with ModernismThe Russian Cretan Quest and the Origins of ArchaismThe “Archeological” Meaning of the Title PageArt ReproductionsApollo’s Graphic Design and its “Architectural” MeaningIllustrations in the Literary AlmanacConclusionConclusionBibliographyPrimary SourcesList of Selected Illustrated Magazines and Art Periodicals published in the Nineteenth CenturyList of Selected Art Periodicals published in the Twentieth CenturySecondary SourcesGlossary of TermsIndex

"Art Periodical Culture examines the three journals at once as technological and sociological artifacts of a European print revival and the subsequent awakening of a Russian response to this movement. Chuchvaha also ably demonstrates that the content and form of the journals was the product of both individual and collective human struggle. Chuchvaha offers a useful volume for those wishing to study either Russia’s emergent literary culture at the end of the nineteenth century or the growth of Russian artistic theory and its broader cultural impact prior to the 1917 Revolution." - John Ellison, in: Slavic and East European Journal 61/2 (2017), 366-367"What places her work apart, however, is the primacy which she affords to the physical peculiarities of each publication, and the nature of the intermedial relations between their visual and literary texts. Taking her cue from developments in book and periodical studies, especially Gérard Genette’s insistence on the importance of paratexts, Chuchvaha attends to such critical but neglected aspects as the binding, cover, logo, and font to shed light on the materiality and agency of these remarkably creative vehicles of Modernist thought." - Rosalind Blakesley, in: The Russian Review, Volume 76, Issue 11 (January 2017), pp. 145-146