- Paperback: 272 pages
- Publisher: OUP Oxford (16 Nov 2006)
- Language English
- ISBN-10: 0192842242
- ISBN-13: 978-0192842244
- Product Dimensions: 23.6 x 16.8 x 1.8 cm
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 502,570 in Books (See Top 100 in Books)
- See Complete Table of Contents
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The arts that flourished between the Arctic Ocean and the Black Sea and between Austria and Russian Alaska from the seventeenth to the twentieth century are some of the most potent in history. Yet they, and their cultural context, remain little known. East European Art addresses this by providing a sweeping view of key artistic developments and connections in the lands of the Romanov and Habsburg empires as well as their neighbouring and successor states. And it argues that a greater appreciation of East European art will lead us to a much-needed fresh definition of 'European' art as a whole.
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The aim here is a redefinition of what may be considered the art of eastern Europe. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
The aim here is a redefinition of what may be considered the art of eastern Europe. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Paperback
I've been wondering for years about the lack of Eastern European art in UK commentaries, histories and galleries of 'European' art. I bought this niche publication accordingly, and wasn't disappointed in the least. It's full of stuff to learn about.
A recent review (Guardian, 24 Sep) on the 'Treasures from Budapest' exhibition at the Royal Academy concludes: "Hungarian collectors [...] bought some supreme Italian works...you see those paragons alongside carved wooden saints from Hungarian churches in a way that expands your sense of the variety and greatness of the continent's heritage."
Antedating the lines above by some years, 'East European Art' (C 2006) in fact focuses on that very sense of variety and greatness, only in far more depth than a newspaper article could allow, quite understandably. The information and arguments are very clearly organized in the book, underpinned by an obvious copiousness and thoroughness of research. The author uses the region's political background as a main thread, which provides a useful perspective to introduced trends and artworks. Without understanding the political/social context much art could be misinterpreted (and probably is, too, in general) and without an emphatic main thread there could be a danger of getting lost in details. The reader is saved from both by recurrent analyses of the trend-defining influence of the Habsburg-Romanov imperial dichotomy, which characterised the region throughout the centuries covered.
It's worth noting that by no means can a 200-odd-page volume cover this vast topic comprehensively. Thus there's no intention to list or introduce all possible artists of acclaim from the region. Quite contrarily, the book aims at identifying major directions, which are then illustarted by a few archetypes. Artwork reproductions in full colour are well provided throughout.
A recent review (Guardian, 24 Sep) on the 'Treasures from Budapest' exhibition at the Royal Academy concludes: "Hungarian collectors [...] bought some supreme Italian works...you see those paragons alongside carved wooden saints from Hungarian churches in a way that expands your sense of the variety and greatness of the continent's heritage."
Antedating the lines above by some years, 'East European Art' (C 2006) in fact focuses on that very sense of variety and greatness, only in far more depth than a newspaper article could allow, quite understandably. The information and arguments are very clearly organized in the book, underpinned by an obvious copiousness and thoroughness of research. The author uses the region's political background as a main thread, which provides a useful perspective to introduced trends and artworks. Without understanding the political/social context much art could be misinterpreted (and probably is, too, in general) and without an emphatic main thread there could be a danger of getting lost in details. The reader is saved from both by recurrent analyses of the trend-defining influence of the Habsburg-Romanov imperial dichotomy, which characterised the region throughout the centuries covered.
It's worth noting that by no means can a 200-odd-page volume cover this vast topic comprehensively. Thus there's no intention to list or introduce all possible artists of acclaim from the region. Quite contrarily, the book aims at identifying major directions, which are then illustarted by a few archetypes. Artwork reproductions in full colour are well provided throughout.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
1 review
6 of 6 people found the following review helpful
often underappreciated or neglected
6 July 2007
Format:Paperback
Howard seeks to redress a longstanding underappreciation or neglect about eastern European art. Outsiders to this region often have little knowledge about its greatest artists and their accomplishments. In this account, some of our ignorance is dissipated.
One example is the Russian painter, Mikhail Tikhanov. Whose painting, "The Execution of Russian Patriots by the French in 1812" is rightly compared to the far better known "The Executions of the Third of May" by Goya. The resemblances are striking. But Tikhanov's predates the Goya work by a year. It is unclear from the text if Goya knew of Tikhanov's painting before commencing his. The Goya work is often shown, not just in art books, but also in history texts of the Napoleonic era. Yet, outside Russia, Tikhanov's painting rarely appears in those texts.
Other parts of Howard's account also tie in cited paintings and artists with the times that they lived in. Along with the political and social trends that often provide the context and a better appreciation of the works. Naturally, there is lengthy coverage of Soviet art. Which raises the question of a sequel, from 1950 to the present. It would be interesting to see Howard's remarks on changes in Russian art brought on by the end of the Soviet Union.
One example is the Russian painter, Mikhail Tikhanov. Whose painting, "The Execution of Russian Patriots by the French in 1812" is rightly compared to the far better known "The Executions of the Third of May" by Goya. The resemblances are striking. But Tikhanov's predates the Goya work by a year. It is unclear from the text if Goya knew of Tikhanov's painting before commencing his. The Goya work is often shown, not just in art books, but also in history texts of the Napoleonic era. Yet, outside Russia, Tikhanov's painting rarely appears in those texts.
Other parts of Howard's account also tie in cited paintings and artists with the times that they lived in. Along with the political and social trends that often provide the context and a better appreciation of the works. Naturally, there is lengthy coverage of Soviet art. Which raises the question of a sequel, from 1950 to the present. It would be interesting to see Howard's remarks on changes in Russian art brought on by the end of the Soviet Union.
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