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Russian countryside is some of the world's most lovely, from the celebrated explosions of wild flowers that fill its forests in the spring, to the icy winter tundra that defeated the advances of Napoleon and Hitler, and provided the backdrop for the drama of many of Russian literature's celebrated scenes. And no one immortalized it better than Ivan Shishkin (1832-1898), a Russian landscape painter. In this comprehensive work of scholarship, Irina Shuvalova and Victoria Charles make a thorough examination of Shishkin's work.

YuriLotman was one of the most prominent and influential scholars ofthe twentieth century working in the Soviet Union. This approachable collectionof translations provides a primer to his vast intellectual legacy with a choiceof works that address contemporary concerns such as gender, memory,performance, world literature, and urban life.

In art historical scholarship, inasmuch as he is considered at all, the painter Arkhip Kuindzhi has long been viewed as a peculiar outlier. His landscapes, with their coloristic drama, light effects, and simplified forms, hardly fit the accounts of Russian nineteenth-century painting that focus on the development of the realist school. Questioning the artist's anomalous status, this essay discusses his canvases from the 1870s and 1880s within the broader framework of nineteenth-century popular visual amusements, discourses on realism, and the physiology of vision. Considered through this wider lens—beyond the institution of easel painting and beyond Russia—Kuindzhi is revealed to be an innovator whose approach to painting was profoundly modern and aligned with the aesthetic preoccupations of many west European artists. His painterly pursuits and exhibition practices, furthermore, force a reconsideration of the biases associated with the established narrative of modern art in the west.

Poet-critic and art curator Mai Mang curated a solo show Wang Ai: Flying Over Ancient Landscapes at Connecticut College in 2017 and wrote this exhibition article introducing Chinese artist Wang Ai to his new audience for the first time in North America. Simultaneously possessing a highly experimental and self-reflective sensibility and also an intuitive and indigenous upbringing, Wang considers himself a contemporary artist exploring boundaries of tradition and modernity. In 2008, inspired by the Northern Song landscape painter Fan Kuan's masterpiece Travelers among Mountains and Streams, Wang decided to experiment on paper, re-engaging the great Chinese landscape painting tradition and searching for a new style and direction, which resulted in his ongoing series Flying Over Ancient Landscapes (2009-present). Often calling his style \"polyphonic,\" Wang weaves a labyrinthine universe of ancient landscapes, animals, and scriptural texts, which are juxtaposed with contemporary elements and demonstrate the fascinating and captivating contradictions embedded in Wang's identity as an artist. While presenting the dark, the obscure, the invisible, and the unsayable, Wang's art is traditional and contemporary, humanistic and spiritual. Once placed in a context of the new millennium where violence and confusion can be rampantly abstract yet inescapable, the seemingly decorative or stylistic elements in his art will bring out new surprises. They will reveal their poignant edges, and stir resonance across the borders of nation-state, culture, and language.

This article examines Russian realist landscape paintings of the Peredvižniki. It demonstrates how in the course of the formation of a national identity during the late nineteenth century, an originally ideology-free space was politically charged and in the course of decades has been incorporated through various measures and media into the collective memory. In this way, the topos of the 'Russian Landscape' became lieu de mémoire for Russianness (russkost') that transcends social order (Russian Empire, Soviet Union, Russian Federation). Through identification with supposedly Russian scenery, which knows no regional or national borders, love of the motherland ('ljubov' k rodine) can be created and strengthened. In their various reproductions, these landscape images developed into a kind of world parallel to the world of everyday experience in the Stalin era. The ideology of Russian landscape painting is now experiencing a new level of appreciation in the West, the effect of which is a shift in focus in their evaluation, from national to universal criteria.

La campagne russe est l'une des plus charmantes du monde pour ses célèbres étendues de fleurs sauvages qui lui donnent un air de forêt au printemps, pour les hivers polaires de la toundra qui triomphèrent sur l'avancée de Napoléon ou Hitler et qui seront le cadre de nombreuses scènes célèbres de la littérature russe. Qui d'autre ne put mieux les immortaliser qu'Ivan Shishkin (1832-1898), peintre paysagiste russe. Dans cet ouvrage exhaustif, Irina Shuvalova et Victoria Charles font une analyse approfondie de l'œuvre de Shishkin.

Visual arts in Russia languished through most of her history, partly because the Orthodox Church frowned on pictorial representation, partly because there was virtually no middle class to purchase paintings. In the mid-eighteenth century Russia acquired an Academy of Arts which produced works largely in classical style and content. This changed in the 1870's when, under western influence, a group of Russian artists formed a society of \"Itinerants\" committed to painting in the realistic mode and to exhibit their works in various cities of the Empire rather than solely in the capital cities of St. Petersburg and Moscow, as had been the custom until then. Their canvasses depicted everyday life in Russia as well as historical scenes; they also painted portraits of contemporaries. This special issue deals with the lives and work of nine leading Itinerant painters. The movement gradually lost popularity toward the beginning of the twentieth century as Impressionism and Abstract art replaced it, but it revived in the Soviet period. Today it is greatly favored by the Russian public which swarms the Tretyakov Gallery in Moscow, the largest collection of Itinerant art.

Die russischen Landschaften gehoren zu den schonsten der Welt, mit den beruhmten Wildblumenteppichen in den Waldern im Fruhling und der eisigen Wintertundra, die das Vordringen Napoleons und Hitlers vereitelte, bilden sie die Kulisse fur so viele bekannte Szenen der russischen Literatur. Und doch wurden sie erst durch die Hand des Malers Iwan Schischkin (1832-1898) unsterblich, indem er wie kein anderer vor oder nach ihm den Zauber und die Majestat der russischen Landschaften auf die Leinwand bannte. Irina Shuvalova und Victoria Charles untersuchen in dieser umfassenden Studie die herausrageenden Werke Schischkins.

This chapter contains sections titled: Transmission, Replacement, Negation, Deletion West/East–North/South Banality as Tactic Austerity Globalism's Body‐Politic ‘Development’ Exposed Notes