The article treats of the “Exhibition of Historic Russian Portraits” which Sergei Diaghilev organzed at the Tauride Palace, St. Petersburg, in 1905. Reference is made to the precedents to the event such as Nikolai Vrangel’s exhibition “Russian Portrait Painting of the Last 150 Years” of 1902 and to the primary supporters such as Tsar Nicholas II, Alexandre Benois, and the Grand Duke Nikolai Mikhailovich. Key works in the exhibition, especially the 18th century aristocratic portraits, promotiojnal materials, including the catalog, public and critical reaction, installation and design, and the practical role which the exhibiton played in Diaghilev’s professional life as impresaio are also described.
The focus of this article is on Léon Bakst’s activities as textile and dress designer during the 1910s and early 1920s, especially in the United States. Particular note is made of his interest in questions of nationality—whether Persian, Indian, Siamese, Jewish or American Indian—as reflected in fabrics and clothing. Bakst’s interaction with American patrons, such as the Garretts, is discussed as are his pedagogical and theoretical concerns.
The focus of this article is on the early, experimental sculpture of Iosif Chaikov, known for his Socialist Realist statues rather than for his avant-garde involvement. Chaikov’s Jewish lineage, his collaboration with the Kultur-Lige, his international training, and his cultivation of flight as a central theme are examined in an attempt to restore a more synthetic and comparative station to his oeuvre as a Soviet artist. Copious reference is made to his industrial or “Constructivist” themes of the 1920s and 1930s.