{"id":725,"date":"2014-10-07T09:44:30","date_gmt":"2014-10-07T09:44:30","guid":{"rendered":"http:\/\/ccrac.hoart.cam.ac.uk\/?page_id=725"},"modified":"2020-10-20T23:29:15","modified_gmt":"2020-10-20T22:29:15","slug":"recent-articles","status":"publish","type":"page","link":"https:\/\/ccrac.org.uk\/index.php\/recent-articles\/","title":{"rendered":"Recent Articles"},"content":{"rendered":"

Rosalind P. Blakesley (University of Cambridge):<\/strong>
\n\u2018The First Woman Peredvizhnik: Emily Shanks and the Blurred
\nRealist\/Impressionist Divide,\u2019 in \u2018Translations and Dialogues: The
\nReception of Russian Art Abroad,\u2019 ed. Silvia Burini, special issue,
\nEuropa Orientalis,<\/em> vol. 31 (2019), 81-89.<\/p>\n

\u2018Russia, Rome and the Tricky Business of Disaster Painting,\u2019 The<\/em>
\nBurlington Magazine,<\/em> vol. 160 (December 2018), 996-1005.<\/p>\n

\u2018Performing Russian Success? The 1770 Exhibition at the Imperial Academy
\nof Arts,\u2019 in J. Buckler, J. A. Cassiday and B. Wolfson (eds), Russian<\/em>
\nPerformances: Word, Action, Object<\/em> (University of Wisconsin Press,
\nMadison, WI, 2018), 64-73.<\/p>\n

\u2018An Unexpected Role Reversal: Pavel Tretiakov and the International Exhibition of 1862,\u2019 Experiment<\/em> vol. 23 (2017), 93-103.<\/p>\n

\u2018Demonstratsiia rossiiskikh dostizhenii: vystavka 1770 goda v Imperatorskoi Akademii khudozhestv\u2019 [\u2018Performing Russian Success: the Exhibition of 1770 at the Imperial Academy of Arts\u2019], in O. V. Kalugina, I. M. Marisina and A. V. Samokin (eds), Imperatorskaia Akademiia khudozhestv v kul\u2019ture novogo vremeni. Dostizheniia. Obrazovanie. Lichnosti<\/em> [The Imperial Academy of Arts in Modern Culture. Achievements. Education. Personalities] (BuksMArt, Moscow, 2016), 10-14.<\/p>\n

\u2018Creeping and Prowling around the Russian Court: Joseph Turner\u2019s Portraitist,\u2019 Pembroke College Annual Gazette (2016): 34-39.<\/p>\n

\u2018Distinguished Visitors: A Russian Cultural Pantheon in London,\u2019 The Tretyakov Gallery Magazine, 2:51 (2016): 36-53.<\/p>\n

\u2018Povest\u2019 o dvukh akademiiakh: teplye otnosheniia mezhdu vedushchimi shkolami iskusstv Londona i Sankt-Peterburga\u2019 [\u2018A Tale of Two Academies: a Cosy Relationship between London and St Petersburg\u2019s Premier Art Schools\u2019] in A. V. Kobak and O. L. Kuvaldina (eds), Rossiia-Velikobritaniia: piat\u2019 vekov kul\u2019turnykh sviazei [Russia-Great Britain: Five Centuries of Cultural Links] (Evropeiskii dom, St Petersburg, 2015), 617-627.<\/p>\n

\u2018Ladies-in-Waiting in Waiting: Picturing Adolescence in Dmitry Levitsky\u2019s Smolny Portraits, 1772-1776,\u2019\u00a0Art History<\/em>, vol. 37, no. 1 (February 2014), pp. 10-37. (http:\/\/onlinelibrary.wiley.com\/doi\/10.1111\/1467-8365.12048\/full<\/a>)<\/p>\n

\u2018Cultural Leadership and International Dialogue between the London and St Petersburg Academies of Art, 1757-1805,\u2019\u00a0The Slavonic and East European Review<\/em>, vol. 92, no. 1 (January 2014), pp. 1-24. (http:\/\/www.jstor.org\/stable\/10.5699\/slaveasteurorev2.92.issue-1<\/a>)<\/p>\n

‘Women and the Visual Arts’ in W. Rosslyn and A. Tosi (eds),\u00a0Women in Nineteenth-Century Russia:\u00a0<\/em>Lives and Culture<\/em>\u00a0(Open Book Publishers, Cambridge, 2011), pp. 91-117. (http:\/\/www.openbookpublishers.com\/reader\/98<\/a>)<\/p>\n

\u2018Pride and the Politics of Nationality in Russia\u2019s Imperial Academy of Fine Arts, 1757-1807,\u2019\u00a0Art History<\/em>, vol. 33, no. 5 (December 2010), pp. 800-835. (http:\/\/onlinelibrary.wiley.com\/doi\/10.1111\/j.1467-8365.2010.00782.x\/abstract<\/a>)<\/p>\n

Marie Collier (University of Cambridge):<\/strong>
\n‘Fantasy in Reality,’\u00a0Drawing Matter <\/em>(2017):\u00a0https:\/\/www.drawingmatter.org\/drawings\/fantasy-reality\/.<\/p>\n

Louise Hardiman (Independent Scholar):
\n<\/strong>\u2018Sergei Diaghilev, Konstantin Korovin and the North in Russian Art, 1890-1905\u2019, in Music and the Nordic Breakthrough: Aesthetics, Modernity, and Cultural Exchange in the Baltic Region, 1890-1930,<\/em> ed. by Philip R. Bullock and Daniel Grimley (forthcoming with Boydell & Brewer: Oxford, 2021).<\/p>\n

\u00ab\u041c\u044b \u0442\u0430\u043a \u0434\u0440\u0443\u0436\u043d\u043e, \u0432\u0435\u0441\u0435\u043b\u043e…\u043f\u0440\u043e\u0436\u0438\u043b\u0438 \u0432\u043c\u0435\u0441\u0442\u0435\u00bb \u0414\u0440\u0443\u0436\u0431\u0430 \u041c\u0430\u0440\u0438\u0438 \u0412\u0430\u0441\u0438\u043b\u044c\u0435\u0432\u043d\u044b \u042f\u043a\u0443\u043d\u0447\u0438\u043a\u043e\u0432\u043e\u0439, \u041d\u0435\u0442\u0442\u044b \u041f\u0438\u043a\u043e\u043a \u0438 \u0415\u043b\u0435\u043d\u044b \u0414\u043c\u0438\u0442\u0440\u0438\u0435\u0432\u043d\u044b \u041f\u043e\u043b\u0435\u043d\u043e\u0432\u043e\u0439 \/ \u2018\u201cWe lived together so happily\u2026\u201d: The Friendship of Maria Vasilievna Yakunchikova, Elena Dmitrievna Polenova and Netta Peacock\u2019, Tretyakov Gallery Magazine,<\/em> #3 2020 (68), http:\/\/tretyakovgallerymagazine.com<\/a>, pp. 99-115.<\/p>\n

‘\u0418\u043d\u0442\u0435\u0440\u044c\u0435\u0440\u044b \u0443\u0441\u0430\u0434\u044c\u0431\u044b \u0412.\u0414. \u041f\u043e\u043b\u0435\u043d\u043e\u0432\u0430 \u0432 \u0411\u043e\u0440\u043ae \u0432 \u043a\u043e\u043d\u0442\u0435\u043a\u0441\u0442\u0435 \u043c\u0435\u0436\u0434\u0443\u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0433\u043e \u0434\u0432\u0438\u0436\u0435\u043d\u0438\u044f \u00ab\u0418\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0430 \u0438 \u0440\u0435\u043c\u0435\u0441\u0435\u043b\u00bb’. \u0421\u0431\u043e\u0440\u043d\u0438\u043a \u0441\u0442\u0430\u0442\u0435\u0439 \u043f\u043e\u0434\u0433\u043e\u0442\u043e\u0432\u043b\u0435\u043d \u043f\u043e \u0438\u0442\u043e\u0433\u0430\u043c \u043d\u0430\u0443\u0447\u043d\u043e\u0439 \u043a\u043e\u043d\u0444\u0435\u0440\u0435\u043d\u0446\u0438\u0438, \u043f\u043e\u0441\u0432\u044f\u0449\u0435\u043d\u043d\u043e\u0439 \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u0442\u0432\u0443 \u0412.\u0414. \u041f\u043e\u043b\u0435\u043d\u043e\u0432. \u0413\u043e\u0441\u0443\u0434\u0430\u0440\u0441\u0442\u0432\u0435\u043d\u043d\u0430\u044f \u0422\u0440\u0435\u0442\u044c\u044f\u043a\u043e\u0432\u0441\u043a\u0430\u044f \u0413\u0430\u043b\u0435\u0440\u0435\u044f, 21-23 \u044f\u043d\u0432\u0430\u0440\u044f 2020 \u0433. [‘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).<\/p>\n

\u201cAbramtsevo and its Legacies: Neo-national Art, Craft and Design\u201d, Experiment: A Journal of Russian Culture, 25 <\/em>(2019). Co-edited with Ludmila Piters-Hofmann and Maria Taroutina. Editors\u2019 Preface, in Experiment: A Journal of Russian Culture,<\/em> 25 (2019), pp. xxvii-xxxiii. DOI:10.1163\/2211730X-12341352<\/p>\n

Viktor Vasnetsov, Remembering Savva Ivanovich Mamontov, trans., in Experiment: A Journal of Russian Culture,<\/em> 25 (2019), pp. 19\u201326. DOI:10.1163\/2211730X-12341326<\/p>\n

\u2018Invisible Women: Re-examining the Arts and Crafts of Maria Vasilievna Iakunchikova at the Paris Exposition Universelle\u2019, Experiment: A Journal of Russian Culture,<\/em> 25 (October 2019), pp. 295-309. DOI: 10.1163\/2211730X-12341344<\/p>\n

\u201c\u0412\u0438\u0437\u0430\u043d\u0442\u0438\u0439\u0441\u043a\u0438\u0435 \u0410\u0440\u0430\u0431\u0435\u0441\u043a\u0438 \u0438 \u0424\u043e\u043b\u0438\u0430\u043d\u0442\u044b: \u041e\u0442\u0437\u044b\u0432\u044b \u041c\u044d\u0442\u044c\u044e \u0414\u0438\u0433\u0431\u0438 \u0423\u0430\u0439\u0442\u0442\u0430 \u0438 \u0414\u0440\u0443\u0433\u0438\u0445 \u041f\u0438\u0441\u0430\u0442\u0435\u043b\u0435\u0439 \u0412\u0438\u043a\u0442\u043e\u0440\u0438\u0430\u043d\u0441\u043a\u043e\u0439 \u042d\u043f\u043e\u0445\u0438 \u043e \u0420\u0443\u0441\u0441\u043a\u043e\u043c \u0414\u0435\u043a\u043e\u0440\u0430\u0442\u0438\u0432\u043d\u043e\u043c \u0418\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0435, \u041f\u0440\u0435\u0434\u0441\u0442\u0430\u0432\u043b\u0435\u043d\u043d\u043e\u043c \u043d\u0430 \u041c\u0435\u0436\u0434\u0443\u043d\u0430\u0440\u043e\u0434\u043d\u044b\u0445 \u0412\u044b\u0441\u0442\u0430\u0432\u043a\u0430\u0445 1851\u20131872\u201d [\u2018\u201cByzantine Arabesque and Foliation\u201d: The Responses of Matthew Digby Wyatt and other Victorian writers to Russian Decorative Art at International Exhibitions, 1851-1872\u2019]. \u2018Russian Style: In Search of Identity\u2019. Conference, The All-Russian Museum of Decorative, Applied and Folk Art, Moscow, 2017. Papers published online\u00a0http:\/\/www.vmdpni.ru\/, <\/a>pp. 74-81.<\/p>\n

\u201cThe Loving Labourer through Space and Time\u201d: Aleksandra Pogosskaia, Theosophy and Russian Arts and Crafts\u2019, in Modernism and the Spiritual in Russian Art,<\/em> pp. 69-90. Co-edited with Nicola Kozicharow. DOI: 10.11647\/OBP.0115.03<\/p>\n

\u2018Introduction\u2019, in Modernism and the Spiritual in Russian Art,<\/em> pp. 9-36. Co-edited with Nicola Kozicharow. DOI: 10.11647\/OBP.0115.01<\/p>\n

\u2018The \u201cMartinoff Drawings\u201d: A quest for Russian Art at the South Kensington Museum\u2019, The Burlington Magazine,<\/em> no. 1389, vol. 160 (December 2018), pp. 1006-1015 (awarded Honourable Mention, BASEES Women\u2019s Forum Article Prize, 2020)<\/p>\n

‘An Extraordinary Feeling for Ornament: Elena Polenova and the Neo-Russian Style in Embroideries and Painted Textile Panels’, Experiment: A Journal of Russian Culture<\/i>, 22 (2016), pp. 53-71. DOI:<\/span> 10.1163\/2211730X-12341278<\/span><\/p>\n

‘\u201cTo be known and appreciated in England\u201d: Netta Peacock and the Campaign for Elena Polenova\u2019s Artistic Legacy\u2019 in Natalia Murray, ed., A Russian Fairy Tale: The Art and Craft of Elena Polenova<\/em> (exh. cat., Watts Gallery, Guildford, 2014), pp. 92-117.<\/p>\n

‘Infantine Smudges of Paint \u2026 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<\/em> (Open Book Publishers, 2012). (http:\/\/www.openbookpublishers.com\/product\/160\/a-people-passing-rude<\/a>)<\/p>\n

\n

Nicola Kozicharow (University of Cambridge):<\/strong>
\n\u2018Filipp Maliavin in Emigration: Artistic Strategy and the Afterlife of Secessionism,\u2019\u00a0Art History\u00a0<\/i>(vol. 42, issue 2, April 2019).\u00a0https:\/\/onlinelibrary.wiley.com\/doi\/full\/10.1111\/1467-8365.12426<\/a><\/span><\/p>\n

‘Dmitrii Stelletskii\u2019s\u00a0<\/em>Chastushki<\/em><\/span>\u00a0and Russian \u00e9migr\u00e9 book illustration: between tradition and the avant-garde’,\u00a0Word & Image<\/em>, vol. 31, no. 3, September 2015, 374-385. (http:\/\/www.tandfonline.com\/doi\/full\/10.1080\/02666286.2015.1066637<\/a>)<\/span><\/p>\n

\n

\u2018\u201cRacy of the soil\u201d: Filipp Maliavin\u2019s London Exhibition of 1935\u2019, Anthony Cross (ed.), A People Passing Rude: British Responses to Russian Culture (Open Book Publishers, 2012).\u00a0(http:\/\/www.openbookpublishers.com\/product\/160\/a-people-passing-rude<\/a>)<\/p>\n

\n

Galina Mardilovich (Amherst College, Mead Art Museum):<\/strong>
\n‘An unusual gift of Russian prints to the British Museum in 1926’, The Burlington Magazine<\/i>, vol. 159, no. 1371, June 2017, pp. 453-459.<\/p>\n

‘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<\/i><\/span>, edited by Tanja Malycheva and Isabel W\u00fcnsche, <\/span>Brill\/Rodopi,<\/span> pp. 207-220. (http:\/\/booksandjournals.brillonline.com\/content\/books\/9789004333147<\/a>)
\n<\/span><\/p>\n<\/div>\n

‘Russkie Akvafortisty:<\/i> The Society of Russian Etchers and Early Artistic Organization in the Russian Art World, 1871\u201375′, Art History<\/i>, 39 (2016), pp. 926\u2013951. doi:\u00a010.1111\/1467-8365.12216<\/p>\n

\n

‘Reproducing il primo quadro del mondo<\/i>: Fedor Iordan’s Engraving of Raphael’s Transfiguration<\/i>, 1835-1850′, in special issue<\/span> ‘Mobility of Artists in Central and Eastern Europe between 1500 and 1900’, edited by Aleksandra Lipi\u0144ska and Stephanie Baumewerd, Kunsttexte.de\/Ostblick<\/span><\/i>, no. 3. (www.kunsttexte.de\/ostblick<\/a>)<\/span><\/p>\n

‘Ivan Shishkin as Etcher and his 32 States of Gurzuf’,\u00a0Print Quarterly<\/em>, vol. 30, no. 2, (2013).<\/p>\n

Natalia Murray (The Courtauld Institute of Art):
\n<\/strong>\u2018Great Female Artists of the Avant-garde: From Embroidery to the Revolution\u2019 \u2013 chapter in the book Soviet Women and their Art. The Spirit of Equality<\/em>(London: Unicorn Publishers, 2018)<\/p>\n

‘Revolutionary Spectacle: Street Performances in Petrograd in 1917-1920,’\u00a0<\/em>essay\u00a0in the catalogue of the exhibition Art Riot: Post-Soviet Actionism<\/em> (London: Saatchi Gallery, 2017).<\/p>\n

Introduction, timeline and essays in the exhibition catalogue Revolution: Russian Art. 1917-1932<\/em> (London: Royal Academy of Arts, 2017).<\/p>\n

\u2018Russia and the Arts\u2019 \u2013 review of the exhibition\u00a0Russian and the Arts: The Age of Tolstoy and Tchaikovsky<\/em>\u00a0(National Portrait Gallery, London), in the\u00a0Burlington Magazine<\/em>, June 2016.<\/p>\n

\u2018Street theatre as propaganda: mass performances and spectacles in Petrograd in 1920\u2019,\u00a0Studies in Theatre and Performance<\/em>, volume 37, 23 May 2016.<\/p>\n

\u2018From the Jack of Diamonds to the Donkey Tail: Russian Modernism between Cubism and Primitivism\u2019,\u00a0Russian Modernism\u00a0<\/em>(New York: Neau Gallerie, 2015).<\/p>\n

\u2018Silver Age \u2013 Russian Culture of Fin de Si\u00e8cle\u2019 \u2013 essay published in the catalogue of the exhibition\u00a0Silver Age<\/em>, Belvedere, Vienna, June-October 2014.<\/p>\n

‘No Future for the Futurists?\u00a0Art of the Commune\u00a0and the Quest for a New Art in Post-Revolutionary Russia\u2019,\u00a0International Yearbook of Futurism Studies<\/em>, ed. by Gunter Berghaus, Vol. IV (De Gruyter, 2014).<\/p>\n

\u2018Feast in a time of plague. The May Day celebrations of 1917-1918′,\u00a0Baltic Worlds<\/em>\u00a0(April 2013, Vol. VI:1) pp. 30-33.<\/p>\n

‘The Black Icon’ – essay published\u00a0in the book\u00a0Languages of Colour<\/em>\u00a0ed. by Alexandra Loske (The Frogmore Press, 2012).<\/p>\n

Ksenia Pavlenko (Cornell University):
\n<\/strong>Review, \u201cThe Collector: The Story of Sergei Shchukin and His Lost Masterpieces <\/em>by Natalya Semenova,\u201d Burlington Magazine, No. 161 (April 2019), 347-348.<\/p>\n

‘A Pause in Peripheral Perspectives: Sergei Diaghilev\u2019s 1898 Exhibition of Russian and Finnish Art,’\u00a0SLOVO,<\/em> Vol. 29, No. 1 (Winter 2017), pp. 31-48. (http:\/\/ojs.lib.ucl.ac.uk\/index.php\/Slovo\/article\/view\/1691)<\/p>\n

Isabel Stokholm (University of Cambridge):<\/strong>
\nReview of \u2018Russian Realisms: Literature and Painting, 1840-1890\u2019 by Molly Brunson, H-Net Reviews<\/em>, February 2018.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Rosalind P. Blakesley (University of Cambridge): \u2018The First Woman Peredvizhnik: Emily Shanks and the Blurred Realist\/Impressionist Divide,\u2019 in \u2018Translations and Dialogues: The Reception of Russian Art Abroad,\u2019 ed. Silvia Burini, special issue, Europa Orientalis, vol. 31 (2019), 81-89. \u2018Russia, Rome and the Tricky Business of Disaster Painting,\u2019 The Burlington Magazine, vol. 160 (December 2018), 996-1005.…<\/p>\n

View →<\/span><\/a><\/p>\n","protected":false},"author":199,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"categories":[],"class_list":["post-725","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nRecent Articles - Cambridge Courtauld Russian Art Centre<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Recent Articles - Cambridge Courtauld Russian Art Centre\" \/>\n<meta property=\"og:description\" content=\"Rosalind P. Blakesley (University of Cambridge): \u2018The First Woman Peredvizhnik: Emily Shanks and the Blurred Realist\/Impressionist Divide,\u2019 in \u2018Translations and Dialogues: The Reception of Russian Art Abroad,\u2019 ed. Silvia Burini, special issue, Europa Orientalis, vol. 31 (2019), 81-89. \u2018Russia, Rome and the Tricky Business of Disaster Painting,\u2019 The Burlington Magazine, vol. 160 (December 2018), 996-1005.…View →\" \/>\n<meta property=\"og:url\" content=\"https:\/\/ccrac.org.uk\/index.php\/recent-articles\/\" \/>\n<meta property=\"og:site_name\" content=\"Cambridge Courtauld Russian Art Centre\" \/>\n<meta property=\"article:modified_time\" content=\"2020-10-20T22:29:15+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/ccrac.org.uk\\\/index.php\\\/recent-articles\\\/\",\"url\":\"https:\\\/\\\/ccrac.org.uk\\\/index.php\\\/recent-articles\\\/\",\"name\":\"Recent Articles - Cambridge Courtauld Russian Art Centre\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/ccrac.org.uk\\\/#website\"},\"datePublished\":\"2014-10-07T09:44:30+00:00\",\"dateModified\":\"2020-10-20T22:29:15+00:00\",\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/ccrac.org.uk\\\/index.php\\\/recent-articles\\\/\"]}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/ccrac.org.uk\\\/#website\",\"url\":\"https:\\\/\\\/ccrac.org.uk\\\/\",\"name\":\"Cambridge Courtauld Russian Art Centre\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/ccrac.org.uk\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Recent Articles - Cambridge Courtauld Russian Art Centre","robots":{"index":"noindex","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"og_locale":"en_US","og_type":"article","og_title":"Recent Articles - Cambridge Courtauld Russian Art Centre","og_description":"Rosalind P. Blakesley (University of Cambridge): \u2018The First Woman Peredvizhnik: Emily Shanks and the Blurred Realist\/Impressionist Divide,\u2019 in \u2018Translations and Dialogues: The Reception of Russian Art Abroad,\u2019 ed. Silvia Burini, special issue, Europa Orientalis, vol. 31 (2019), 81-89. \u2018Russia, Rome and the Tricky Business of Disaster Painting,\u2019 The Burlington Magazine, vol. 160 (December 2018), 996-1005.…View →","og_url":"https:\/\/ccrac.org.uk\/index.php\/recent-articles\/","og_site_name":"Cambridge Courtauld Russian Art Centre","article_modified_time":"2020-10-20T22:29:15+00:00","twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"7 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/ccrac.org.uk\/index.php\/recent-articles\/","url":"https:\/\/ccrac.org.uk\/index.php\/recent-articles\/","name":"Recent Articles - Cambridge Courtauld Russian Art Centre","isPartOf":{"@id":"https:\/\/ccrac.org.uk\/#website"},"datePublished":"2014-10-07T09:44:30+00:00","dateModified":"2020-10-20T22:29:15+00:00","inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/ccrac.org.uk\/index.php\/recent-articles\/"]}]},{"@type":"WebSite","@id":"https:\/\/ccrac.org.uk\/#website","url":"https:\/\/ccrac.org.uk\/","name":"Cambridge Courtauld Russian Art Centre","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/ccrac.org.uk\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/ccrac.org.uk\/index.php\/wp-json\/wp\/v2\/pages\/725","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ccrac.org.uk\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ccrac.org.uk\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ccrac.org.uk\/index.php\/wp-json\/wp\/v2\/users\/199"}],"replies":[{"embeddable":true,"href":"https:\/\/ccrac.org.uk\/index.php\/wp-json\/wp\/v2\/comments?post=725"}],"version-history":[{"count":0,"href":"https:\/\/ccrac.org.uk\/index.php\/wp-json\/wp\/v2\/pages\/725\/revisions"}],"wp:attachment":[{"href":"https:\/\/ccrac.org.uk\/index.php\/wp-json\/wp\/v2\/media?parent=725"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ccrac.org.uk\/index.php\/wp-json\/wp\/v2\/categories?post=725"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}