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Crafting collections: Collecting and...

Myzelev, Alla.

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Crafting collections: Collecting and revitalizing peasant handicraft in Victorian England and Imperial Russia, 1895--1918.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Crafting collections: Collecting and revitalizing peasant handicraft in Victorian England and Imperial Russia, 1895--1918./
作者:	Myzelev, Alla.
面頁冊數:	343 p.
附註:	Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1192.
Contained By:	Dissertation Abstracts International68-04A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR26635
ISBN:	9780494266359

Crafting collections: Collecting and revitalizing peasant handicraft in Victorian England and Imperial Russia, 1895--1918.
Myzelev, Alla.

Crafting collections: Collecting and revitalizing peasant handicraft in Victorian England and Imperial Russia, 1895--1918. - 343 p.

Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1192.

Thesis (Ph.D.)--Queen's University (Canada), 2007.

The primary focus of this research is how collecting practices of those involved in the handicraft revival evolved and influenced the museological practices of the period. Since the production of handicraft became the focus of artists and craftspeople with the advancement of the Arts and Crafts Movement in Britain, it is not surprising that many craft revival workshops and colonies across Europe took the British movement as a model. This research looks at how the ideas of craft revival developed in Haslemere, a small town near London, and at the two places in the Russian Empire---Talashkino, near Smolensk and Kiev, in Ukraine.

ISBN: 9780494266359Subjects--Topical Terms:

635474
Art History.

Crafting collections: Collecting and revitalizing peasant handicraft in Victorian England and Imperial Russia, 1895--1918.
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245 1 0 $a Crafting collections: Collecting and revitalizing peasant handicraft in Victorian England and Imperial Russia, 1895--1918.
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500 $a Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1192.
502 $a Thesis (Ph.D.)--Queen's University (Canada), 2007.
520 $a The primary focus of this research is how collecting practices of those involved in the handicraft revival evolved and influenced the museological practices of the period. Since the production of handicraft became the focus of artists and craftspeople with the advancement of the Arts and Crafts Movement in Britain, it is not surprising that many craft revival workshops and colonies across Europe took the British movement as a model. This research looks at how the ideas of craft revival developed in Haslemere, a small town near London, and at the two places in the Russian Empire---Talashkino, near Smolensk and Kiev, in Ukraine.
520 $a The Haslemere collection resulted from the efforts of very small number of individuals who traveled in northern Europe to purchase what they considered authentic peasant handicrafts. By discussing the Peasant Art Collection at Haslemere within the context of museological development in Europe and in Britain as well as within the growing trend of establishing ethnological and anthropological museum, one can better understand the reasons for amassment of such a unique assortment.
520 $a Princess Tenisheva's collection of Russian Antiques demonstrates the early growth of ethnomuseology in Russia. The artefacts from the museum were used as examples for Talashkino workshops production. Tenisheva's collection was presented at the Louvre in 1905 as a collection of Russian Art, received critical acclaim and was one of the most popular events of the season. The organization and the representation of the artifacts, the presences and absences of particular media and periods then helped to construct the image of Russian history.
520 $a Finally, the last example is the earlier years of the Kiev Industrial and Applied Arts Museum. The two handicraft exhibits presented in the museum in collaboration with Kiev Kustar Society brought to the audience those artifacts that were considered worthy of attention and revival. Later, in the early 1910s a group of Ukrainian avant-garde artists designed motifs for embroideries that embodied the most recent trends in fine arts such as non-figurative arts and Suprematism.
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