Russian Cultural Studies: An Introduction

By Catriona Kelly; David Shepherd | Go to book overview

classics above all, with icons, early twentieth-centuryfigurative art, and nineteenth-centuryrealism also fetching reasonable prices at auction. Again judging by auction prices, the Russian new rich, who became increasingly prominent buyers at auction from late 1993 onwards, have tastes that incline to Fabergé, porcelain and ormolu vases, malachite tables, and other opulent pieces of decorative art, as well as paintings representing picturesque Russian scenes in the mainstream realist manner (pine forests by Shishkin, fairground scenes by Makovskii, and so on).32They are clearly unlikely, for the meantime, to sponsor demanding excursions into abstract art, let alone conceptualism or performance art. If Russiadoes develop a post-Soviet tradition of corporate art, then, a mercantile direction of sponsorship to replace the city authorities and trade unions formerly commissioning heroic workers and peasants, it may well be a revival of early twentieth-centurystyle russe. Or on the other hand, given the huge wealth accumulated by some new Russian millionaires (and billionaires), a significant patron of Western art, a distant successor to Shchukin, may perhaps emerge at the stage when the country does finally settle down.

32. These assertions are based on the sales figures for the Icons, Russian Pictures and Works of Art auctions at Sothebys, London, 1991-5; see also D. Staunton, "Loaded Russians March into Europe", Observer, 13 Aug. 1995.


Suggested further reading

Cinema:

Attwood, L.(ed.), Red Women on the Silver Screen: Soviet Women and Cinema from the Beginning to the End of the Communist Era ( London, 1993).

Cherchi Usaiet al. (eds.), Silent Witnesses. Russian Films 1908-1919, research and co-ordination by Y. Tsivian( London, 1989).

Goodwin, J., Eisenstein: Cinema and History ( Urbanaand Chicago, 1993).

Horton, A., and Brashinsky, M., The Zero Hour: Glasnost and Soviet Cinema in Transition ( Princeton, 1992).

Kenez, P., Cinema and Soviet Society, 1917-1953 ( Cambridge, 1992).

Lawton, A., Kinoglasnost: Soviet Cinema in our Time ( Cambridge, 1992).

---- (ed.), The Red Screen: Politics, Society, Art in Soviet Cinema ( London, 1992).

Lenin, Stalin, Partiia o Kino ( Leningrad, 1938).

Leyda, J., Kino: A History of Russian and Soviet Film ( London, 1960; repr. 1983).

Shklovskii, V., Eisenstein, Vertov ( Moscow, 1927).

---- Za sorok let( Moscow, 1965).

Sovetskoe kino( 1917-1978). Resheniia partii i pravitel'stva o kino. Sbornik dokumentov, i. 1917-1936( Moscow, 1979).

Stites, R., Russian Popular Culture: Entertainment and Society Since 1900 ( Cambridge, 1992).

Taylor, R., Film Propaganda: Soviet Russian and Nazi Germany ( London, 1979).

---- The Politics of Soviet Cinema, 1917-1929 ( Cambridge, 1979).

---- and Christie, I.(eds.), The Film Factory: Russian and Soviet Cinema in Documents 1896-1939 ( London, 1988).

-244-

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