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The influence of the Vienna School of Art History on Soviet and post-Soviet historiography: Bruegel's case
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The influence of the Vienna School of Art History on Soviet and post-Soviet historiography: Bruegel's case
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Journal Article
The influence of the Vienna School of Art History on Soviet and post-Soviet historiography: Bruegel's case
2020
Overview
Soviet art historiography has remained a terra incognita for Western scholars for decades. Despite recent efforts, Soviet/Russian art history remains mostly a grey zone in current scholarship and its image is still defined by the two tropes that emerged mainly from Shapiro's and Bowlt's works. Voices bringing up specific Soviet scholars and their relation to the Western European art historical narrative (such as of Zlydneva and Dmitrieva) were too feeble to provoke any noticeable paradigmatic shift in the attitude towards Socialist/Marxist writings. To enhance our understanding, I shall argue, it is worth examining Soviet art history in relation to the Vienna school, which remained much until the 1960s its closest ideological enemy and ally. And even after the introduction of the iconology to the Soviet art history, Viennese influences did not disappear but remained a kind of art historical unconscious.As I shall argue the ideas and approaches of the Viennese art historians not only heavily influenced Soviet historiography from its very beginnings but also exposed the contradictory nature of the Soviet Marxist methodological paradigm.1 I shall not address, however, another important and influential domain, namely, iconology, which made its way into the Soviet art historiography mostly due to the Thaw. The exchanges with the Vienna school received attention quite sporadically and this paper aims to fill the gap via the case of Pieter Bruegel.
Publisher
Journal of Art Historiography,Department of Art History, University of Birmingham
