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. The background, a painted canvas, showed a panorama of the destroyed city while in the foreground the drama of relief was illustrated through a three-dimensional model of the hospitals put up to help the wounded. Reflecting the state of the art in the museum world, the exhibit worked with electrical lights to stage and dramatize objects and used stained glass windows designed by Louis Tiffany of New York. In addition, the museum also impressed through large, portentous
The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.
This book is about two distinct but related professional cultures in late Soviet
Russia that were concerned with material objects: industrial design and
decorative art. The Russian avant-garde of the 1920s is broadly recognised to
have been Russia’s first truly original contribution to world culture. In
contrast, Soviet design of the post-war period is often dismissed as hackwork
and plagiarism that resulted in a shabby world of commodities. This book
identifies the second historical attempt at creating a powerful alternative to
capitalist commodities in the Cold War era. It offers a new perspective on the
history of Soviet material culture by focusing on the notion of the ‘comradely
object’ as an agent of progressive social relations that state-sponsored Soviet
design inherited from the avant-garde. It introduces a shared history of
domestic objects, handmade as well as machine-made, mass-produced as well as
unique, utilitarian as well as challenging the conventional notion of utility.
Situated at the intersection of intellectual history, social history and
material culture studies, this book elucidates the complexities and
contradictions of Soviet design that echoed international tendencies of the late
twentieth century. The book is addressed to design historians, art historians,
scholars of material culture, historians of Russia and the USSR, as well as
museum and gallery curators, artists and designers, and the broader public
interested in modern aesthetics, art and design, and/or the legacy of socialist
regimes.
stained glass was just a tool for creating figurative imagery in architecture. At that time, the Moscow Research Institute of Decorative and Applied Art was developing new techniques for decorating stained glass, such as etching, engraving and counter-reliefs. According to Kalinin, these innovations enabled the artist to ‘render more adequately and realistically life-affirming images of our reality, first of all, images of Soviet people in the fullest of their spiritual wealth’. He used two examples to illustrate his point: The stained glass by the student V. Statun
’s Children , which Bergman wrote a few years later. Take the following example in which the boy Pu accompanies his father, the parish parson, to a church sermon: He couldn’t care less—the service is so boring it’s almost incomprehensible. Pu looks around, and what he sees keeps him alive: the altarpiece, the stained-glass window, the murals, Jesus and the robbers in blood and torment. Mary leaning toward Saint John: ‘Look upon your son, look upon your mother.’ Mary Magdalene
county, was entirely rebuilt in the Gothic style and is now devoid of interest’ (HD, p. 14). The outward and visible sign of the heritage that Tony is so committed to maintaining Unreal cities and undead legacies 229 is, to use one of the key words of Vile Bodies,‘bogus’. Hetton, with its elaborate Gothic features, its ‘lancet windows of armorial stained glass’, its ‘dining hall with its hammer-beam roof and pitch-pine minstrel gallery’, its bedrooms named after Arthurian characters is, like Walpole’s ‘Gothic Villa’, an artefact dedicated to the assertion of a
: It was filmic. The richly coloured uniforms of the male Windsors and the glamorous, British-made dresses of the bride and her new family added to the Harry Potter effect of swooping television shots in the gothic, leafy and stained-glass illuminated Abbey. 52 These opening images of London work further to cement the
’s only successful treatment in the novel; she cures Dudley Leicester too when her male peers fail (there is something godlike about her then).31 Women are also sexually confident, and predatory. They are spiritually developed: ‘the window, being of stained glass, showed the story of St George. Little, and as it were golden, Pauline stood motionless in the middle of the room; she looked upon the floor and appeared lost in reflection’ (p. 112). Finally, and perhaps most surprisingly, they also maintain their ability to mother: ‘she appeared to look downwards upon Dudley
possible inspiration was the king’s ‘Painted Chamber’, which was both bedroom and state apartment. The Chapel of St Stephen, like Melidor’s chamber, had elaborate paintings and stained glass windows. The most striking analogue to the details listed in the romance, however, can be found in the chapter house at Westminster, which contained a series of depictions of the Apocalypse. My study of Kathleen Scott’s index of British manuscript images reveals no comparable combination of subjects elsewhere, nor does A. Caiger-Smith’s catalogue of surviving English wall paintings
through its textual representation of architectural space. Architectural framing alone suffices to create virtual space through which readers can travel. Significantly, this suggests that focus on the role of ‘multi-’ in multimedia may not be a necessary condition for virtuality, particularly for medieval audiences conditioned to make connections across media instantiations of narratives – for example, hagiographic narratives in manuscripts and stained glass windows – on their own. Rather, the crucial determinant of virtual space is the role of embodied reading. When
midst of dark satanic mills. In 1974 the Library as a whole housed more than 2m. volumes, subscribed to more than 8,000 periodicals, and had on its books more than 26,000 registered users (a figure which had reached 32,000 by 1977, and was then equivalent to about double the number of students and academic staff in the University, UMIST and the Business School). The sparsely populated, lavishly appointed building in Deansgate offered ample room and a quasi-ecclesiastical atmosphere, beneath its stained-glass windows and statues of literary saints, to the few habitués