John Ellis Bowlt (born December 6, 1943) is an English art historian specialising in Russian avant garde art of 1900-1930. He is a professor at the University of Southern California and directs its Institute of Modern Russian Culture. [1]
In 2009, Bowlt received the Order of Friendship from former Russian President Dmitry Medvedev.[ citation needed ] He has received numerous awards and scholarships, including the Woodrow Wilson National Fellowship and Fulbright-Hays Awards. [2]
In the arts and in literature, the term avant-garde identifies a genre of art, an experimental work of art, and the experimental artist who created the work of art, which usually is aesthetically innovative, whilst initially being ideologically unacceptable to the artistic establishment of the time. The military metaphor of an advance guard identifies the artists and writers whose innovations in style, form, and subject-matter challenge the artistic and aesthetic validity of the established forms of art and the literary traditions of their time; thus how the artists who created the anti-novel and Surrealism were ahead of their times.
Aleksandr Vasil'evich Kuprin was a Russian painter, a founding member of the Knave of Diamonds group. Kuprin was born in Borisoglebsk in 1880 and died in Moscow in 1960. His most famous works are various landscape and still lifes.
Aleksandra Aleksandrovna Ekster, also known as Alexandra Exter, was a Russian and French painter and designer.
Experimental film or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms or alternatives to traditional narratives or methods of working. Many experimental films, particularly early ones, relate to arts in other disciplines: painting, dance, literature and poetry, or arise from research and development of new technical resources.
Varvara Fyodorovna Stepanova was a Russian artist. With her husband Alexander Rodchenko, she was associated with the Constructivist branch of the Russian avant-garde, which rejected aesthetic values in favour of revolutionary ones. Her activities extended into propaganda, poetry, stage scenery and textile designs.
Natalia Sergeevna Goncharova was a Russian avant-garde artist, painter, costume designer, writer, illustrator, and set designer. Goncharova's lifelong partner was fellow Russian avant-garde artist Mikhail Larionov. She was a founding member of both the Jack of Diamonds (1909–1911), Moscow's first radical independent exhibiting group, the more radical Donkey's Tail (1912–1913), and with Larionov invented Rayonism (1912–1914). She was also a member of the German-based art movement Der Blaue Reiter. Born in Russia, she moved to Paris in 1921 and lived there until her death.
Soviet nonconformist art was Soviet art produced in the former Soviet Union outside the control of the Soviet state started in the Stalinist era, in particular, outside of the rubric of Socialist Realism. Other terms used to refer to this phenomenon are Soviet counterculture, "underground art" or "unofficial art".
Knave of Diamonds, also called Jack Of Diamonds, was a circle of avant-garde artists in Russia, heavily influenced by French styles, who sought "to unite the stylistic system of Cezanne with the primitive traditions of folk art, the Russian lubok and tradesman's signs." Named for the eponymous exhibition held in Moscow in 1910, the group's intention was to provoke the art establishment in Russia, challenge "good taste," and shock. The group remained active until December 1917.
Cubo-Futurism or Kubo-Futurizm was an art movement, developed within Russian Futurism, that arose in early 20th century Russian Empire, defined by its amalgamation of the artistic elements found in Italian Futurism and French Analytical Cubism. Cubo-Futurism was the main school of painting and sculpture practiced by the Russian Futurists. In 1913, the term "Cubo-Futurism" first came to describe works from members of the poetry group "Hylaeans", as they moved away from poetic Symbolism towards Futurism and zaum, the experimental "visual and sound poetry of Kruchenykh and Khlebninkov". Later in the same year the concept and style of "Cubo-Futurism" became synonymous with the works of artists within Ukrainian and Russian post-revolutionary avant-garde circles as they interrogated non-representational art through the fragmentation and displacement of traditional forms, lines, viewpoints, colours, and textures within their pieces. The impact of Cubo-Futurism was then felt within performance art societies, with Cubo-Futurist painters and poets collaborating on theatre, cinema, and ballet pieces that aimed to break theatre conventions through the use of nonsensical zaum poetry, emphasis on improvisation, and the encouragement of audience participation.
Nina Henrichovna Genke [Hɛŋkə] or Nina Henrichovna Genke-Meller, or Nina Henrichovna Henke-Meller was a Ukrainian-Russian avant-garde artist,, designer, graphic artist and scenographer.
Vkhutemas was the Russian state art and technical school founded in 1920 in Moscow, replacing the Moscow Svomas.
Vladimir Davidovich Baranov-Rossiné, also spelled Baranoff-Rosiné, born Shulim Wolf Leib Baranov, was a Ukrainian painter and sculptor active in Russia and France. His work belonged to the avant-garde movement of Cubo-Futurism. He was also an inventor.
Nadezhda Andreevna Udaltsova was a Russian avant-garde artist, painter and teacher.
Henryk Stażewski was a Polish painter, visual artist and writer. His career spanned seven decades and he is considered a pivotal figure in the history of constructivism and geometric abstraction in Poland. Stażewski was one of the few prominent Polish avant-garde artists of the interwar period who remained active and gained further international recognition in the second half of the 20th century.
George Costakis was a Greek-Russian art collector who amassed one of the largest private collections of Russian avant-garde art in the world.
Ivan Vasilievich Kliun, or Klyun, born Klyunkov was a Russian Avant-Garde painter, sculptor and art theorist, associated with the Suprematist movement.
Lynn Theresa Garafola is an American dance historian, linguist, critic, curator, lecturer, and educator. A prominent researcher and writer with broad interests in the field of dance history, she is acknowledged as the leading expert on the Ballets Russes de Serge Diaghilev (1909–1929), the most influential company in twentieth-century theatrical dance.
Ukrainian avant-garde is the avant-garde movement in Ukrainian art from the end of 1890s to the middle of the 1930s along with associated artists in sculpture, painting, literature, cinema, theater, stage design, graphics, music, architecture. Some well-known Ukrainian avant-garde artists include: Kazimir Malevich, Alexander Archipenko, Vladimir Tatlin, Sonia Delaunay, Vasyl Yermylov, Alexander Bogomazov, Aleksandra Ekster, David Burliuk, Vadym Meller, and Anatol Petrytsky. All were closely connected to the Ukrainian cities of Kyiv, Kharkiv, Lviv, and Odesa by either birth, education, language, national traditions or identity. Since it originated when Ukaine was part of the Russian Empire, Ukrainian avant-garde has been commonly lumped by critics into the Russian avant-garde movement.
Steven Watson is an author, art and cultural historian, curator, and documentary filmmaker.
Isabel Wünsche is a German art historian and Professor of Art and Art History at Jacobs University Bremen.
| International | |
|---|---|
| National | |
| Academics | |
| People | |
| Other | |
  | This biographical article about a British art historian is a stub. You can help Wikipedia by expanding it. |
 | This article about a person involved in the study of Russia is a stub. You can help Wikipedia by expanding it. |
