THE CARICATURES AND CARTOONS OF THE 1905 RUSSIAN REVOLUTION: IMAGES OF THE OPPOSITION (GRAPHICS, AVANT-GARDE, SYMBOLISM).
Item
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Title
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THE CARICATURES AND CARTOONS OF THE 1905 RUSSIAN REVOLUTION: IMAGES OF THE OPPOSITION (GRAPHICS, AVANT-GARDE, SYMBOLISM).
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Identifier
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AAI8708264
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identifier
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8708264
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Creator
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BETZ, MARGARET BRIDGET.
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Contributor
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Rose-Carol Washton Long
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Date
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1984
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Language
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English
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Publisher
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City University of New York.
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Subject
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Fine Arts | History, European
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Abstract
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The Russian revolution of 1905 provided a rare opportunity for artists in a controlled society to express openly their opinions about society and government through hundreds of small caricature journals. Their graphics employed a wide variety of styles, from realism to allegory and Symbolism, and directly contributed to the development of modern Russian art.;Enterprising artists and editors devised means for slipping forbidden material past the censor and educated their public to read between the lines, to interpret Aesopian hints and a multitude of disguises, for the Tsar especially, grounded in popular anecdotes. Central to this study is the explication of political implications in the material and analysis of their condensed formal structures and equivocal language of signs, their sources and influences.;Russian caricature's secret language and liberal expressive distortions closely approach the basic premises of international Symbolism. A surprising characteristic of Russian caricatures, one rooted in Symbolism, is a tendency to incorporate religious iconography to convey the sense of tragedy provoked by the revolutionary events. There are personal and aesthetic links between political caricature and Russian Symbolism, such as the fusion of European art nouveau with traditions of Russian folk art and fairy tales. These two currents are found in some of the best caricatures and cartoons of the 1905 revolution and their union led directly to the evolution of distinctly Russian modern art styles. This distinction is especially evident when Russian caricatures are put in their proper European context and compared with journals such as Simplicissimus and L'Assiette au beurre.;Russian Neoprimitivism and Futurism are two of the modern styles that owe a debt to the caricatures and cartoons of the 1905 revolution. A new approach to emotional subjects, an intentional naivete, graphic exaggeration and a desire to unite art with the public spurred both movements. Many members of the Union of Youth, a St. Petersburg avant-garde exhibition society, had some previous experience with the caricature press of 1905, either as artists, students of caricaturists or collectors of caricature journals.;Such vital interconnections suggest that the caricatures and cartoons of the 1905 revolution are a neglected facet of the revolution in modern Russian art.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
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Program
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Art History
