| Summary: | In Framing Russian Art, Oleg Tarasov investigates the role of the frame both literally and conceptually, both in the organization of the artistic space of a work of art and in the very perception of a visual image - an icon, a building, a painting, an etching or photograph. Part One is dedicated to exploring the frame of the Russian icon and related arks, folding images and prints, from the Middle Ages to the late nineteenth century, including analyses of Grigoriy Shumayev's vast and extraordinary Baroque masterpiece, which he called 'the iconostasis of the life-giving Cross', and the sumptuous blending of medievalism and the late Romanticism in the Church Not Made by Hands at Savva Momontov's estate of Abramtsevo outside Moscow. Part Two examines the successive roles of the frame in Baroque imperial portraiture, the dynastic grandiloquence of the nineteenth century, the impact of Western ideas and new technology (photography in particular) on the celebrated battle painter Vasiliy Vereshchagin, and finally the impact of the vanishing frame in abstract art and Modernism. --Book Jacket.
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