Search engine for discovering works of Art, research articles, and books related to Art and Culture
Javascript must be enabled to continue!
A. P. Chekhov and Painting: From Realism to (Pre)Impressionism
View through CrossRef
The author addresses the transitional nature of Chekhovʼs art, which had evolved from Realism to Modernism, and, trying to solve this problem, draws parallels between Chekhov’s prose and the paintings of the late 19th century. The article establishes that certain canvases of the Itinerants art movement can be identifed as direct sources of certain motives and episodes in Chekhovʼs works. By contrast, the similarities between Chekhovʼs stories and the (Pre)Impressionist paintings of Isaac Levitan cannot be reduced to exact coincidences of plot or detail, and are limited to the hard-to-defne concept of «mood».
Institute of Russian Literature Pushkinskij Dom RAN
Title: A. P. Chekhov and Painting: From Realism to (Pre)Impressionism
Description:
The author addresses the transitional nature of Chekhovʼs art, which had evolved from Realism to Modernism, and, trying to solve this problem, draws parallels between Chekhov’s prose and the paintings of the late 19th century.
The article establishes that certain canvases of the Itinerants art movement can be identifed as direct sources of certain motives and episodes in Chekhovʼs works.
By contrast, the similarities between Chekhovʼs stories and the (Pre)Impressionist paintings of Isaac Levitan cannot be reduced to exact coincidences of plot or detail, and are limited to the hard-to-defne concept of «mood».
Related Results
Time Passes: Virginia Woolf, Post-Impressionism, and Cambridge Time
Time Passes: Virginia Woolf, Post-Impressionism, and Cambridge Time
Virginia Woolf's experiments begin with Impressionism. But knowing Roger Fry's criticism of Impressionism as analyzing commonsense appearances but destroying design, she adopted Fr...
Magical Hyperrealism: A Reading of Orbitor through Magical Realism and Maximalism
Magical Hyperrealism: A Reading of Orbitor through Magical Realism and Maximalism
In this stylistic study I propose a reading of Orbitor [Blinding] through two literary modes: magical realism and maximalism, as Mircea Cărtărescu’s trilogy contains elements that ...
Geographies of Theatre: the Finnish National Theatre in Stockholm in 1956
Geographies of Theatre: the Finnish National Theatre in Stockholm in 1956
During the Cold War, the Finnish National Theatre actively sought possibilities for international visits and co-operation. It wanted to showcase its work abroad and especially conn...
Exploring the Limitless Depths: Mike Alfreds Directs Chekhov
Exploring the Limitless Depths: Mike Alfreds Directs Chekhov
‘Deadly British productions of Chekhov remain all too common.’ Or so suggests David Allen, who finds in the Chekhov productions of Mike Alfreds a refreshing recognition of the dist...
Jacqueline du Pré as 'The Cellist' (2020)
Jacqueline du Pré as 'The Cellist' (2020)
Few musicians of the twentieth century are as recognisable as Jacqueline du Pré. Her dazzling and distinctive talent, said to have enraptured audiences the world over, was overcome...
Mapping the Visual Icon
Mapping the Visual Icon
Abstract
It is often claimed that pre-attentive vision has an ‘iconic’ format. This is seen to explain pre-attentive vision's characteristically high processing capa...
Realism + Its Discontents: Determinism Noir
Realism + Its Discontents: Determinism Noir
Abstract
This short comic based narrative depicts the challenges to and climate of an alternative form of realism in the art-world as a new project for art's politic...
Romantic Irony in the Short Fiction of Rebecca Harding Davis
Romantic Irony in the Short Fiction of Rebecca Harding Davis
Abstract
As the author of some 275 short stories, over a dozen novels, and hundreds of juvenile stories and journalistic essays, Rebecca Harding Davis’ prolific outp...