Rosalind P. Blakesley (University of Cambridge):
‘The First Woman Peredvizhnik: Emily Shanks and the Blurred
Realist/Impressionist Divide,’ in ‘Translations and Dialogues: The
Reception of Russian Art Abroad,’ ed. Silvia Burini, special issue,
Europa Orientalis, vol. 31 (2019), 81-89.
‘Russia, Rome and the Tricky Business of Disaster Painting,’ The
Burlington Magazine, vol. 160 (December 2018), 996-1005.
‘Performing Russian Success? The 1770 Exhibition at the Imperial Academy
of Arts,’ in J. Buckler, J. A. Cassiday and B. Wolfson (eds), Russian
Performances: Word, Action, Object (University of Wisconsin Press,
Madison, WI, 2018), 64-73.
‘An Unexpected Role Reversal: Pavel Tretiakov and the International Exhibition of 1862,’ Experiment vol. 23 (2017), 93-103.
‘Demonstratsiia rossiiskikh dostizhenii: vystavka 1770 goda v Imperatorskoi Akademii khudozhestv’ [‘Performing Russian Success: the Exhibition of 1770 at the Imperial Academy of Arts’], in O. V. Kalugina, I. M. Marisina and A. V. Samokin (eds), Imperatorskaia Akademiia khudozhestv v kul’ture novogo vremeni. Dostizheniia. Obrazovanie. Lichnosti [The Imperial Academy of Arts in Modern Culture. Achievements. Education. Personalities] (BuksMArt, Moscow, 2016), 10-14.
‘Creeping and Prowling around the Russian Court: Joseph Turner’s Portraitist,’ Pembroke College Annual Gazette (2016): 34-39.
‘Distinguished Visitors: A Russian Cultural Pantheon in London,’ The Tretyakov Gallery Magazine, 2:51 (2016): 36-53.
‘Povest’ o dvukh akademiiakh: teplye otnosheniia mezhdu vedushchimi shkolami iskusstv Londona i Sankt-Peterburga’ [‘A Tale of Two Academies: a Cosy Relationship between London and St Petersburg’s Premier Art Schools’] in A. V. Kobak and O. L. Kuvaldina (eds), Rossiia-Velikobritaniia: piat’ vekov kul’turnykh sviazei [Russia-Great Britain: Five Centuries of Cultural Links] (Evropeiskii dom, St Petersburg, 2015), 617-627.
‘Ladies-in-Waiting in Waiting: Picturing Adolescence in Dmitry Levitsky’s Smolny Portraits, 1772-1776,’ Art History, vol. 37, no. 1 (February 2014), pp. 10-37. (http://onlinelibrary.wiley.com/doi/10.1111/1467-8365.12048/full)
‘Cultural Leadership and International Dialogue between the London and St Petersburg Academies of Art, 1757-1805,’ The Slavonic and East European Review, vol. 92, no. 1 (January 2014), pp. 1-24. (http://www.jstor.org/stable/10.5699/slaveasteurorev2.92.issue-1)
‘Women and the Visual Arts’ in W. Rosslyn and A. Tosi (eds), Women in Nineteenth-Century Russia: Lives and Culture (Open Book Publishers, Cambridge, 2011), pp. 91-117. (http://www.openbookpublishers.com/reader/98)
‘Pride and the Politics of Nationality in Russia’s Imperial Academy of Fine Arts, 1757-1807,’ Art History, vol. 33, no. 5 (December 2010), pp. 800-835. (http://onlinelibrary.wiley.com/doi/10.1111/j.1467-8365.2010.00782.x/abstract)
Marie Collier (University of Cambridge):
‘Fantasy in Reality,’ Drawing Matter (2017): https://www.drawingmatter.org/drawings/fantasy-reality/.
Louise Hardiman (Independent Scholar):
‘Sergei Diaghilev, Konstantin Korovin and the North in Russian Art, 1890-1905’, in Music and the Nordic Breakthrough: Aesthetics, Modernity, and Cultural Exchange in the Baltic Region, 1890-1930, ed. by Philip R. Bullock and Daniel Grimley (forthcoming with Boydell & Brewer: Oxford, 2021).
«Мы так дружно, весело…прожили вместе» Дружба Марии Васильевны Якунчиковой, Нетты Пикок и Елены Дмитриевны Поленовой / ‘“We lived together so happily…”: The Friendship of Maria Vasilievna Yakunchikova, Elena Dmitrievna Polenova and Netta Peacock’, Tretyakov Gallery Magazine, #3 2020 (68), http://tretyakovgallerymagazine.com, pp. 99-115.
‘Интерьеры усадьбы В.Д. Поленова в Боркe в контексте международного движения «Искусства и ремесел»’. Сборник статей подготовлен по итогам научной конференции, посвященной творчеству В.Д. Поленов. Государственная Третьяковская Галерея, 21-23 января 2020 г. [‘Vassily Polenov’s Interior Designs for the “Borok” Estate and the International Arts and Crafts Movement.’ Proceedings of the Conference ‘V. D. Polenov’. State Tretyakov Gallery, 21-23 January 2020] (forthcoming in 2020/21).
“Abramtsevo and its Legacies: Neo-national Art, Craft and Design”, Experiment: A Journal of Russian Culture, 25 (2019). Co-edited with Ludmila Piters-Hofmann and Maria Taroutina. Editors’ Preface, in Experiment: A Journal of Russian Culture, 25 (2019), pp. xxvii-xxxiii. DOI:10.1163/2211730X-12341352
Viktor Vasnetsov, Remembering Savva Ivanovich Mamontov, trans., in Experiment: A Journal of Russian Culture, 25 (2019), pp. 19–26. DOI:10.1163/2211730X-12341326
‘Invisible Women: Re-examining the Arts and Crafts of Maria Vasilievna Iakunchikova at the Paris Exposition Universelle’, Experiment: A Journal of Russian Culture, 25 (October 2019), pp. 295-309. DOI: 10.1163/2211730X-12341344
“Византийские Арабески и Фолианты: Отзывы Мэтью Дигби Уайтта и Других Писателей Викторианской Эпохи о Русском Декоративном Искусстве, Представленном на Международных Выставках 1851–1872” [‘“Byzantine Arabesque and Foliation”: The Responses of Matthew Digby Wyatt and other Victorian writers to Russian Decorative Art at International Exhibitions, 1851-1872’]. ‘Russian Style: In Search of Identity’. Conference, The All-Russian Museum of Decorative, Applied and Folk Art, Moscow, 2017. Papers published online http://www.vmdpni.ru/, pp. 74-81.
“The Loving Labourer through Space and Time”: Aleksandra Pogosskaia, Theosophy and Russian Arts and Crafts’, in Modernism and the Spiritual in Russian Art, pp. 69-90. Co-edited with Nicola Kozicharow. DOI: 10.11647/OBP.0115.03
‘Introduction’, in Modernism and the Spiritual in Russian Art, pp. 9-36. Co-edited with Nicola Kozicharow. DOI: 10.11647/OBP.0115.01
‘The “Martinoff Drawings”: A quest for Russian Art at the South Kensington Museum’, The Burlington Magazine, no. 1389, vol. 160 (December 2018), pp. 1006-1015 (awarded Honourable Mention, BASEES Women’s Forum Article Prize, 2020)
‘An Extraordinary Feeling for Ornament: Elena Polenova and the Neo-Russian Style in Embroideries and Painted Textile Panels’, Experiment: A Journal of Russian Culture, 22 (2016), pp. 53-71. DOI: 10.1163/2211730X-12341278
‘“To be known and appreciated in England”: Netta Peacock and the Campaign for Elena Polenova’s Artistic Legacy’ in Natalia Murray, ed., A Russian Fairy Tale: The Art and Craft of Elena Polenova (exh. cat., Watts Gallery, Guildford, 2014), pp. 92-117.
‘Infantine Smudges of Paint … Infantine Rudeness of Soul: British Reception of Russian Art at the Exhibitions of the Allied Artists’ Association, 1908-1911′, Anthony Cross (ed.), A People Passing Rude: British Responses to Russian Culture (Open Book Publishers, 2012). (http://www.openbookpublishers.com/product/160/a-people-passing-rude)
Nicola Kozicharow (University of Cambridge):
‘Filipp Maliavin in Emigration: Artistic Strategy and the Afterlife of Secessionism,’ Art History (vol. 42, issue 2, April 2019). https://onlinelibrary.wiley.com/doi/full/10.1111/1467-8365.12426
‘Dmitrii Stelletskii’s Chastushki and Russian émigré book illustration: between tradition and the avant-garde’, Word & Image, vol. 31, no. 3, September 2015, 374-385. (http://www.tandfonline.com/doi/full/10.1080/02666286.2015.1066637)
‘“Racy of the soil”: Filipp Maliavin’s London Exhibition of 1935’, Anthony Cross (ed.), A People Passing Rude: British Responses to Russian Culture (Open Book Publishers, 2012). (http://www.openbookpublishers.com/product/160/a-people-passing-rude)
Galina Mardilovich (Amherst College, Mead Art Museum):
‘An unusual gift of Russian prints to the British Museum in 1926’, The Burlington Magazine, vol. 159, no. 1371, June 2017, pp. 453-459.
‘Women Artists as Catalysts in Printmaking: Anna Ostroumova-Lebedeva and Elizaveta Kruglikova’, in Networks of the Early Avant-Garde: Marianne Werefkin and the Women Artists in Her Circle, edited by Tanja Malycheva and Isabel Wünsche, Brill/Rodopi, pp. 207-220. (http://booksandjournals.brillonline.com/content/books/9789004333147)
‘Russkie Akvafortisty: The Society of Russian Etchers and Early Artistic Organization in the Russian Art World, 1871–75′, Art History, 39 (2016), pp. 926–951. doi: 10.1111/1467-8365.12216
‘Reproducing il primo quadro del mondo: Fedor Iordan’s Engraving of Raphael’s Transfiguration, 1835-1850′, in special issue ‘Mobility of Artists in Central and Eastern Europe between 1500 and 1900’, edited by Aleksandra Lipińska and Stephanie Baumewerd, Kunsttexte.de/Ostblick, no. 3. (www.kunsttexte.de/ostblick)
‘Ivan Shishkin as Etcher and his 32 States of Gurzuf’, Print Quarterly, vol. 30, no. 2, (2013).
Natalia Murray (The Courtauld Institute of Art):
‘Great Female Artists of the Avant-garde: From Embroidery to the Revolution’ – chapter in the book Soviet Women and their Art. The Spirit of Equality(London: Unicorn Publishers, 2018)
‘Revolutionary Spectacle: Street Performances in Petrograd in 1917-1920,’ essay in the catalogue of the exhibition Art Riot: Post-Soviet Actionism (London: Saatchi Gallery, 2017).
Introduction, timeline and essays in the exhibition catalogue Revolution: Russian Art. 1917-1932 (London: Royal Academy of Arts, 2017).
‘Russia and the Arts’ – review of the exhibition Russian and the Arts: The Age of Tolstoy and Tchaikovsky (National Portrait Gallery, London), in the Burlington Magazine, June 2016.
‘Street theatre as propaganda: mass performances and spectacles in Petrograd in 1920’, Studies in Theatre and Performance, volume 37, 23 May 2016.
‘From the Jack of Diamonds to the Donkey Tail: Russian Modernism between Cubism and Primitivism’, Russian Modernism (New York: Neau Gallerie, 2015).
‘Silver Age – Russian Culture of Fin de Siècle’ – essay published in the catalogue of the exhibition Silver Age, Belvedere, Vienna, June-October 2014.
‘No Future for the Futurists? Art of the Commune and the Quest for a New Art in Post-Revolutionary Russia’, International Yearbook of Futurism Studies, ed. by Gunter Berghaus, Vol. IV (De Gruyter, 2014).
‘Feast in a time of plague. The May Day celebrations of 1917-1918′, Baltic Worlds (April 2013, Vol. VI:1) pp. 30-33.
‘The Black Icon’ – essay published in the book Languages of Colour ed. by Alexandra Loske (The Frogmore Press, 2012).
Ksenia Pavlenko (Cornell University):
Review, “The Collector: The Story of Sergei Shchukin and His Lost Masterpieces by Natalya Semenova,” Burlington Magazine, No. 161 (April 2019), 347-348.
‘A Pause in Peripheral Perspectives: Sergei Diaghilev’s 1898 Exhibition of Russian and Finnish Art,’ SLOVO, Vol. 29, No. 1 (Winter 2017), pp. 31-48. (http://ojs.lib.ucl.ac.uk/index.php/Slovo/article/view/1691)
Isabel Stokholm (University of Cambridge):
Review of ‘Russian Realisms: Literature and Painting, 1840-1890’ by Molly Brunson, H-Net Reviews, February 2018.
