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Edvard Munch |
Norway's most famous artist is certainly Edvard Munch (1863–1944), a symbolist/expressionist who became world-famous for The Scream, one of the most recognizable paintings in all art. It has been widely interpreted as representing the universal anxiety of modern man. |
Other names |
Other noteworthy 19th century painters are: August Cappelen, Peder Balke, Jacob Gløersen, Peter Nicolai Arbo, Eilif Peterssen, Gustav Wentzel, Oscar Wergeland, Erik Werenskiold, Asta Nørregaard, Amaldus Nielsen, Oda Krohg, Fritz Thaulow, Carl Sundt-Hansen, Christian Skredsvig, Gunnar Berg, Halfdan Egedius, Theodor Kittelsen, Harald Sohlberg. |
Noteworthy artists from 20th century Norwegian art are: Harald Sohlberg, Reidar Aulie, Per Krohg, Arne Ekeland, Kai Fjell, Jacob Weidemann, Håkon Bleken, Jens Johannessen, Ludvig Karsten, Henrik Sørensen, Kjartan Slettemark, Anna-Eva Bergman, Anders Kjær, Svein Johansen, Svein Bolling, Bjørn Carlsen, Bjørn Ransve, Kåre Tveter, Frans Widerberg, Odd Nerdrum, Ida Lorentzen, Knut Rose, Ørnulf Opdahl, Håvard Vikhagen, Leonard Rickhard, Håkon Gullvåg, Kira Wager, Halvard Storm, Lars Elling, Vibeke Barbel Slyngstad. |
19th-century sculptors include Stephan Sinding, Gunnar Utsond, Brynjulf Bergslien and Mathias Skeibrok. |
20th-century sculptors include Gustav Vigeland, Nils Aas, Arnold Haukeland, Bård Breivik, Anne Grimdalen, Kristofer Leirdal, Per Palle Storm, Nina Sundbye, Dyre Vaa and Wilhelm Rasmussen. |
In textile art Hannah Ryggen (1894–1970) holds a unique position. Frida Hansen was an Art Nouveau textile artist. |
See also |
Rosemaling |
== References == |
Portuguese art includes many different styles from many different eras. |
Sculptures |
Portuguese sculptures can be best analysed by studying the many tombs of the 12th and 14th centuries that are found throughout Portugal. In the late 1700s, the colony of Brazil was the main influence in Portuguese sculpture. This can be seen by the increase in Baroque wooden sculpture during this time. Joaquim Machado de Castro, a famous Portuguese artist who lived around thjais responsible for a lot of these works. |
Painting |
The Classical and Romantic styles of painting, brought to Portugal from Italy and France, had an influence on Portuguese artist Machado de Castro in the late 18th century and António Soares dos Reis in the 19th century. A school for amateur painters, led by Nuno Gonçalves, was popular in the 15th century. As a result, Flemish artists added to the native style by decorating palaces and convents using their own techniques. The result gave Portugal a rich heritage of religious art. The Romantic period in the 19th century sparked a rebirth of national art. This was followed by an era of naturalist realism, which in turn was followed by experimentation the 20th century. |
Contemporary artists |
Many Portuguese contemporary artists have made their mark on the world stage. Maria Helena Vieira de Silva was a famous Portuguese abstract painter and Carlos Botelho was known for his street scenes of Lisbon. Paula Rego is known for her "storytelling" in painting. She became famous for her works "Dog Woman" (1990's), and "Abortion", a reaction to the referendum in Portugal which made abortion a crime (late 1990s). Her art has been shown in museums such as Tate Modern in London and Casa das Histórias Paula Rego, in Cascais (dedicated solely to her art). |
Azulejos |
The Portuguese glazed tiles (azulejos) are one of Portugal's best decorative arts. Many 16th and 17th century buildings are lined with tiles, and the rooms and halls of palaces and mansions have tilted panels following a colour motif. Some prime examples of this style of art are the Pátio da Carranca (courtyard of Carranca) of the Paço de Sintra (Palace of Sintra), the São Roque church in Lisbon and the Quinta da Bacalhoa at Vila Fresca de Azeitão near Setúbal. |
== References == |
Russian culture (Russian: Культура России, romanized: Kul'tura Rossii, IPA: [kʊlʲˈturə rɐˈsʲiɪ]) has been formed by the nation's history, its geographical location and its vast expanse, religious and social traditions, and both Eastern and Western influence. Russian writers and philosophers have played an important role in the development of European thought. The Russians have also greatly influenced classical music, ballet, sport, painting, and cinema. The nation has also made pioneering contributions to science and technology and space exploration. |
History |
Language and literature |
Russia's 160 ethnic groups speak some 100 languages. According to the 2002 census, 142.6 million people speak Russian, followed by Tatar with 5.3 million and Ukrainian with 1.8 million speakers. Russian is the only official state language, but the Constitution gives the individual republics the right to make their native language co-official next to Russian. Despite its wide dispersal, the Russian language is homogeneous throughout Russia. Russian is the most geographically widespread language of Eurasia and the most widely spoken Slavic language. Russian belongs to the Indo-European language family and is one of the living members of the East Slavic languages; the others being Belarusian and Ukrainian (and possibly Rusyn). Written examples of Old East Slavic (Old Russian) are attested from the 10th century onwards. |
Over a quarter of the world's scientific literature is published in Russian. Russian is also applied as a means of coding and storage of universal knowledge—60–70% of all world information is published in the English and Russian languages. The language is one of the six official languages of the United Nations. |
Folklore |
Russian folklore takes its roots in the pagan beliefs of ancient Slavs, which is nowadays still represented in the Russian folklore. Epic Russian bylinas are also an important part of Slavic mythology. The oldest bylinas of Kievan cycle were recorded in the Russian North, especially in Karelia, where most of the Finnish national epic Kalevala was recorded as well. |
Many Russian fairy tales and bylinas were adapted for Russian animations, or for feature movies by famous directors like Aleksandr Ptushko (Ilya Muromets, Sadko) and Aleksandr Rou (Morozko, Vasilisa the Beautiful). Some Russian poets, including Pyotr Yershov and Leonid Filatov, created a number of well-known poetical interpretations of classical Russian fairy tales, and in some cases, like that of Alexander Pushkin, also created fully original fairy tale poems that became very popular. |
Folklorists today consider the 1920s the Soviet Union's golden age of folklore. The struggling new government, which had to focus its efforts on establishing a new administrative system and building up the nation's backwards economy, could not be bothered with attempting to control literature, so studies of folklore thrived. There were two primary trends of folklore study during the decade: the formalist and Finnish schools. Formalism focused on the artistic form of ancient byliny and faerie tales, specifically their use of distinctive structures and poetic devices. The Finnish school was concerned with connections amongst related legends of various Eastern European regions. Finnish scholars collected comparable tales from multiple locales and analyzed their similarities and differences, hoping to trace these epic stories' migration paths. |
Once Joseph Stalin came to power and put his first five-year plan into motion in 1928, the Soviet government began to criticize and censor folklore studies. Stalin and the Soviet regime repressed folklore, believing that it supported the old tsarist system and a capitalist economy. They saw it as a reminder of the backward Russian society that the Bolsheviks were working to surpass. To keep folklore studies in check and prevent "inappropriate" ideas from spreading amongst the masses, the government created the RAPP – the Russian Association of Proletarian Writers. The RAPP specifically focused on censoring fairy tales and children's literature, believing that fantasies and "bourgeois nonsense" harmed the development of upstanding Soviet citizens. Fairy tales were removed from bookshelves and children were encouraged to read books focusing on nature and science. RAPP eventually increased its levels of censorship and became the Union of Soviet Writers in 1932. |
In order to continue researching and analyzing folklore, intellectuals needed to justify its worth to the Communist regime. Otherwise, collections of folklore, along with all other literature deemed useless for the purposes of Stalin's Five Year Plan, would be an unacceptable realm of study. In 1934, Maksim Gorky gave a speech to the Union of Soviet Writers arguing that folklore could, in fact, be consciously used to promote Communist values. Apart from expounding on the artistic value of folklore, he stressed that traditional legends and fairy tales showed ideal, community-oriented characters, which exemplified the model Soviet citizen. Folklore, with many of its conflicts based on the struggles of a labor-oriented lifestyle, was relevant to Communism as it could not have existed without the direct contribution of the working classes. Also, Gorky explained that folklore characters expressed high levels of optimism, and therefore could encourage readers to maintain a positive mindset, especially as their lives changed with the further development of Communism. |
Yuri Sokolov, the head of the folklore section of the Union of Soviet Writers also promoted the study of folklore by arguing that folklore had originally been the oral tradition of the working people, and consequently could be used to motivate and inspire collective projects amongst the present-day proletariat. Characters throughout traditional Russian folktales often found themselves on a journey of self-discovery, a process that led them to value themselves not as individuals, but rather as a necessary part of a common whole. The attitudes of such legendary characters paralleled the mindset that the Soviet government wished to instill in its citizens. He also pointed out the existence of many tales that showed members of the working class outsmarting their cruel masters, again working to prove folklore's value to Soviet ideology and the nation's society at large. |
Convinced by Gorky and Sokolov's arguments, the Soviet government and the Union of Soviet Writers began collecting and evaluating folklore from across the country. The Union handpicked and recorded particular stories that, in their eyes, sufficiently promoted the collectivist spirit and showed the Soviet regime's benefits and progress. It then proceeded to redistribute copies of approved stories throughout the population. Meanwhile, local folklore centers arose in all major cities. Responsible for advocating a sense of Soviet nationalism, these organizations ensured that the media published appropriate versions of Russian folktales in a systematic fashion. |
Apart from circulating government-approved fairy tales and byliny that already existed, during Stalin's rule authors parroting appropriate Soviet ideologies wrote Communist folktales and introduced them to the population. These contemporary folktales combined the structures and motifs of the old byliny with contemporary life in the Soviet Union. Called noviny, these new tales were considered the renaissance of the Russian epic. Folklorists were called upon to teach modern folksingers the conventional style and structure of the traditional byliny. They also explained to the performers the appropriate types of Communist ideology that should be represented in the new stories and songs As the performers of the day were often poorly educated, they needed to obtain a thorough understanding of Marxist ideology before they could be expected to impart folktales to the public in a manner that suited the Soviet government. Besides undergoing extensive education, many folk performers traveled throughout the nation in order to gain insight into the lives of the working class, and thus communicate their stories more effectively. Due to their crucial role in spreading Communist ideals throughout the Soviet Union, eventually some of these performers became highly valued members of Soviet society. A number of them, despite their illiteracy, were even elected as members of the Union of Soviet Writers. |
These new Soviet fairy tales and folk songs primarily focused on the contrasts between a miserable life in old tsarist Russia and an improved one under Stalin's leadership. Their characters represented identities for which Soviet citizens should strive, exemplifying the traits of the "New Soviet Man". The heroes of Soviet tales were meant to portray a transformed and improved version of the average citizen, giving the reader a clear goal for an ideal community-oriented self that the future he or she was meant to become. These new folktales replaced magic with technology, and supernatural forces with Stalin. Instead of receiving essential advice from a mythical being, the protagonist would be given advice from omniscient Stalin. If the character followed Stalin's divine advice, he could be assured success in all his endeavors and a complete transformation into the "New Soviet Man". The villains of these contemporary fairy tales were the Whites and their leader Idolisce, "the most monstrous idol", who was the equivalent of the tsar. Descriptions of the Whites in noviny mirrored those of the Tartars in byliny. In these new stories, the Whites were incompetent, stagnant capitalists, while the Soviet citizens became invincible heroes. |
Once Stalin died in March 1953, folklorists of the period quickly abandoned the new folktales. Written by individual authors and performers, noviny did not come from the oral traditions of the working class. Consequently, today they are considered pseudo-folklore, rather than genuine Soviet (or Russian) folklore. Without any true connection to the masses, there was no reason noviny should be considered anything other than contemporary literature. Specialists decided that attempts to represent contemporary life through the structure and artistry of the ancient epics could not be considered genuine folklore. Stalin's name has been omitted from the few surviving pseudo-folktales of the period. Instead of considering folklore under Stalin a renaissance of the traditional Russian epic, today it is generally regarded as a period of restraint and falsehood. |
Literature |
Russian literature is considered to be among the world's most influential and developed. It can be traced to the Middle Ages, when epics and chronicles in Old East Slavic were composed. By the Age of Enlightenment, literature had grown in importance, with works from Mikhail Lomonosov, Denis Fonvizin, Gavrila Derzhavin, and Nikolay Karamzin. From the early 1830s, during the Golden Age of Russian Poetry, literature underwent an astounding golden age in poetry, prose and drama. Romanticism permitted a flowering of poetic talent: Vasily Zhukovsky and later his protégé Alexander Pushkin came to the fore. Following Pushkin's footsteps, a new generation of poets were born, including Mikhail Lermontov, Nikolay Nekrasov, Aleksey Konstantinovich Tolstoy, Fyodor Tyutchev and Afanasy Fet. |
The first great Russian novelist was Nikolai Gogol. Then came Ivan Turgenev, who mastered both short stories and novels. Fyodor Dostoevsky and Leo Tolstoy soon became internationally renowned. Ivan Goncharov is remembered mainly for his novel Oblomov. Mikhail Saltykov-Shchedrin wrote prose satire, while Nikolai Leskov is best remembered for his shorter fiction. In the second half of the century Anton Chekhov excelled in short stories and became a leading dramatist. Other important 19th-century developments included the fabulist Ivan Krylov, non-fiction writers such as the critic Vissarion Belinsky, and playwrights such as Aleksandr Griboyedov and Aleksandr Ostrovsky. The beginning of the 20th century ranks as the Silver Age of Russian Poetry. This era had poets such as Alexander Blok, Anna Akhmatova, Boris Pasternak, Konstantin Balmont, Marina Tsvetaeva, Vladimir Mayakovsky, and Osip Mandelshtam. It also produced some first-rate novelists and short-story writers, such as Aleksandr Kuprin, Nobel Prize winner Ivan Bunin, Leonid Andreyev, Yevgeny Zamyatin, Dmitry Merezhkovsky and Andrei Bely. |
After the Russian Revolution of 1917, Russian literature split into Soviet and white émigré parts. In the 1930s, Socialist realism became the predominant trend in Russia. Its leading figure was Maxim Gorky, who laid the foundations of this style. Mikhail Bulgakov was one of the leading writers of the Soviet era. Nikolay Ostrovsky's novel How the Steel Was Tempered has been among the most successful works of Russian literature. Influential émigré writers include Vladimir Nabokov, and Isaac Asimov; who was considered one of the "Big Three" science fiction writers. Some writers dared to oppose Soviet ideology, such as Nobel Prize-winning novelist Aleksandr Solzhenitsyn, who wrote about life in the Gulag camps. |
Philosophy |
Some Russian writers, like Tolstoy and Dostoyevsky, are known also as philosophers, while many more authors are known primarily for their philosophical works. Russian philosophy blossomed since the 19th century, when it was defined initially by the opposition of Westernizers, advocating Russia's following the Western political and economical models, and Slavophiles, insisting on developing Russia as a unique civilization. The latter group includes Nikolai Danilevsky and Konstantin Leontiev, the early founders of eurasianism. |
In its further developments, Russian philosophy was always marked by a deep connection to literature and interest in creativity, society, politics and nationalism; cosmos and religion were other primary subjects. Notable philosophers of the late 19th and early 20th centuries include Vladimir Solovyov, Sergei Bulgakov, Pavel Florensky, Nikolai Berdyaev, Vladimir Lossky and Vladimir Vernadsky. In the 20th century Russian philosophy became dominated by Marxism. |
Humour |
Russia owes much of its wit to the great flexibility and richness of the Russian language, allowing for puns and unexpected associations. As with any other nation, its vast scope ranges from lewd jokes and silly word play to political satire. |
Russian jokes, the most popular form of Russian humour, are short fictional stories or dialogues with a punch line. Russian joke culture features a series of categories with fixed and highly familiar settings and characters. Surprising effects are achieved by an endless variety of plots. Russians love jokes on topics found everywhere in the world, be it politics, spouse relations, or mothers-in-law. |
Chastushka, a type of traditional musical Russian poetry, is a single quatrain in trochaic tetrameter with an ABAB or ABCB rhyme scheme. Usually humorous, satirical, or ironic in nature, chastushkas are often put to music as well, usually with balalaika or accordion accompaniment. The rigid, short structure (and to a lesser degree, the type of humor these use) parallels limericks. The name originates from the Russian word части́ть, meaning "to speak fast". |
Visual arts |
As early as the 12th and 13th centuries Russia had its national masters who were free of all foreign influence, i. e. that of the Greeks on the one hand, and on the other hand that of the Lombard master-masons called in Andrei Georgievich to build the Uspensky (Assumption) Cathedral in the city of Vladimir. Russia's relations with the Greek world were hampered by the Mongol invasion, and it is to the isolation arising from this that we must attribute the originality of Slavo-Russian ornamentation, which has a character of its own, quite unlike the Byzantine style and the Romanesque. |
Architecture |
The history of Russian architecture begins with early woodcraft buildings of ancient Slavs, and the church architecture of Kievan Rus'. Following the Christianization of Kievan Rus', for several centuries it was influenced predominantly by the Byzantine Empire. Aristotle Fioravanti and other Italian architects brought Renaissance trends into Russia. The 16th century saw the development of the unique tent-like churches; and the onion dome design, which is a distinctive feature of Russian architecture. In the 17th century, the "fiery style" of ornamentation flourished in Moscow and Yaroslavl, gradually paving the way for the Naryshkin baroque of the 1690s. |
After the reforms of Peter the Great, Russia's architecture became influenced by Western European styles. The 18th-century taste for Rococo architecture led to the splendid works of Bartolomeo Rastrelli and his followers. The most influential Russian architects of the eighteenth century; Vasily Bazhenov, Matvey Kazakov, and Ivan Starov, created lasting monuments in Moscow and Saint Petersburg and established a base for the more Russian forms that followed. During the reign of Catherine the Great, Saint Petersburg was transformed into an outdoor museum of Neoclassical architecture. During Alexander I's rule, Empire style became the de facto architectural style, and Nicholas I opened the gate of Eclecticism to Russia. The second half of the 19th century was dominated by the Neo-Byzantine and Russian Revival style. In the early 20th century, Russian neoclassical revival became a trend. Prevalent styles of the late 20th century were the Art Nouveau, Constructivism, and Socialist Classicism. |
Some notable Russian buildings include: |
Saint Sophia Cathedral in Novgorod | Golden Gate (Vladimir) | Cathedral of Christ the Saviour | Assumption Cathedral in Vladimir | Cathedral of the Annunciation | Cathedral of the Archangel | Cathedral of the Dormition | Church of the Savior on Blood | Saint Basil's Cathedral | Kazan Kremlin | Saint Isaac's Cathedral | Kazan Cathedral | Peter and Paul Cathedral | Sukharev Tower | Menshikov Tower | Moscow Manege | Narva Triumphal Gate | Kolomenskoye | Peterhof Palace | Gatchina | Troitse-Sergiyeva Lavra | Solovetsky Monastery | Kunstkamera | Russian Museum | Catherine Palace | Grand Kremlin Palace | Winter Palace | Simonov Monastery | Novodevichy Convent | Lenin's Mausoleum | Tatlin's Tower | Palace of the Soviets | Seven Sisters (Moscow) | All-Soviet Exhibition Centre | Ostankino Tower | Triumph-Palace | White House of Russia |
Handicraft |
Matryoshka doll is a Russian nesting doll. A set of Matryoshka dolls consist of a wooden figure which can be pulled apart to reveal another figure of the same sort but somewhat smaller inside. It has in turn another somewhat smaller figure inside, and so on. The number of nested figures is usually six or more. The shape is mostly cylindrical, rounded at the top for the head and tapered towards the bottom, but little else. The dolls have no extremities, (except those that are painted). The true artistry is in the painting of each doll, which can be extremely elaborate. The theme is usually peasant girls in traditional dress, but can be almost anything; for instance, fairy tales or Soviet leaders. |
Other forms of Russian handicraft include khokhloma, Dymkovo toy, gzhel, Zhostovo painting, Filimonov toys, pisanka, Pavlovo Posad shawl, Rushnyk, and palekh. |
Historical paintings depicting average Russians and their clothing |
Icon painting |
Russian icons are typically paintings on wood, often small, though some in churches and monasteries may be as large as a table top. Many religious homes in Russia have icons hanging on the wall in the krasny ugol, the "red" or "beautiful" corner (see Icon Corner). There is a rich history and elaborate religious symbolism associated with icons. In Russian churches, the nave is typically separated from the sanctuary by an iconostasis (Russian ikonostás) a wall of icons. Icon paintings in Russia attempted to help people with their prayers without idolizing the figure in the painting. The most comprehensive collection of Icon art is found at the Tretyakov Gallery. |
The use and making of icons entered Kievan Rus' following its conversion to Orthodox Christianity from the Eastern Roman (Byzantine) Empire in 988 AD. As a general rule, these icons strictly followed models and formulas hallowed by usage, some of which had originated in Constantinople. As time passed, the Russians—notably Andrei Rublev and Dionisius—widened the vocabulary of iconic types and styles far beyond anything found elsewhere. The personal, improvisatory and creative traditions of Western European religious art are largely lacking in Russia before the seventeenth century, when Simon Ushakov's painting became strongly influenced by religious paintings and engravings from Protestant as well as Catholic Europe. |
In the mid-seventeenth century, changes in liturgy and practice instituted by Patriarch Nikon resulted in a split in the Russian Orthodox Church. The traditionalists, the persecuted "Old Ritualists" or "Old Believers", continued the traditional stylization of icons, while the State Church modified its practice. From that time icons began to be painted not only in the traditional stylized and nonrealistic mode, but also in a mixture of Russian stylization and Western European realism, and in a Western European manner very much like that of Catholic religious art of the time. The Stroganov movement and the icons from Nevyansk rank among the last important schools of Russian icon-painting. |
Lubok |
A lubok (plural Lubki, Cyrillic: Russian: лубо́к, лубо́чная картинка) is a Russian popular print, characterized by simple graphics and narratives derived from literature, religious stories and popular tales. Lubki prints were used as decoration in houses and inns. Early examples from the late 17th and early 18th centuries were woodcuts, then engravings or etchings were typical, and from the mid-19th century lithography. They sometimes appeared in series, which might be regarded as predecessors of the modern comic strip. Cheap and simple books, similar to chapbooks, which mostly consisted of pictures, are called lubok literature or (Cyrillic: Russian: лубочная литература). Both pictures and literature are commonly referred to simply as lubki. The Russian word lubok derives from lub – a special type of board that pictures were printed on. |
Baroque, Classical and Romanticist painting |
The Russian Academy of Arts was created in 1757 with the aim of giving Russian artists an international role and status. Notable portrait painters from the academy include Ivan Argunov, Fyodor Rokotov, Dmitry Levitzky, and Vladimir Borovikovsky. |
In the early 19th century, when neoclassicism and romanticism flourished, famous academic artists focused on mythological and Biblical themes, like Karl Briullov, Orest Kiprensky, Ivan Aivazovsky and Alexander Ivanov. |
Realist and Modernist painting |
Realism came into dominance in the 19th century. The realists captured Russian identity in landscapes of wide rivers, forests, and birch clearings, as well as vigorous genre scenes and robust portraits of their contemporaries. Other artists focused on social criticism, showing the conditions of the poor and caricaturing authority; critical realism flourished under the reign of Alexander II, with some artists making the circle of human suffering their main theme. Others focused on depicting dramatic moments in Russian history. The Peredvizhniki (wanderers) group of artists broke with Russian Academy and initiated a school of art liberated from Academic restrictions. Leading realists include Ivan Shishkin, Arkhip Kuindzhi, Ivan Kramskoi, Vasily Polenov, Isaac Levitan, Vasily Surikov, Viktor Vasnetsov and Ilya Repin. |
By the turn of the 20th century and on, many Russian artists developed their own unique styles, neither realist nor avant-garde. These include Boris Kustodiev, Kuzma Petrov-Vodkin, Mikhail Vrubel and Nicholas Roerich. Many works by the Peredvizhniki group of artists have been highly sought after by collectors in recent years. Russian art auctions during Russian Art Week in London have increased in demand and works have been sold for record breaking prices. |
Russian avant-garde |
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