[1]
J. E. Bowlt, ‘Some Thoughts on the Condition of Soviet Art History’, The Art Bulletin, vol. 71, no. 4, pp. 542–550, Dec. 1989, doi: 10.2307/3051268.
[2]
L. Hardiman and N. Kozicharow, Eds., Modernism and the spiritual in Russian art: new perspectives. Cambridge: Open Book Publishers, 2017 [Online]. Available: https://www.openbookpublishers.com/product/609
[3]
John E. Bowlt, ‘Introduction’, in Moscow and St Petersburg in Russia’s silver age 1900-1920, London: Thames & Hudson, 2008, pp. 9–63.
[4]
Rosalind P. Blakesley and Susan E. Reid, ‘A Long Engagement. Russian art and the “West”’, in Russian art and the West: a century of dialogue in painting, architecture, and the decorative arts, DeKalb, IL: Northern Illinois University Press, 2006, pp. 3–20.
[5]
Camilla, Gray, ‘1860s-90s’, in The Russian experiment in art, 1863-1922, vol. World of art library. History of art, London: Thames and Hudson, 1971, pp. 9–36 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=9c6a02bc-44b3-e711-80cb-005056af4099
[6]
B. W. Kean and B. W. Kean, French painters, Russian collectors: the merchant patrons of modern art in pre-revolutionary Russia, Rev. and Updated ed. London: Hodder & Stoughton, 1994.
[7]
S. Franklin and E. Widdis, Eds., National Identity in Russian Culture: An Introduction. Cambridge: Cambridge University Press, 2004 [Online]. Available: http://dx.doi.org/10.1017/CBO9780511720116
[8]
S. Franklin and E. Widdis, National identity in Russian culture: an introduction. New York: Cambridge University Press, 2004.
[9]
N. Rzhevsky, Ed., The Cambridge Companion to Modern Russian Culture, 2nd ed. Cambridge: Cambridge University Press, 2012 [Online]. Available: http://dx.doi.org/10.1017/CCOL9781107002524
[10]
N. Rzhevsky, The Cambridge companion to modern Russian culture, 2nd ed., vol. Cambridge companions to culture. Cambridge [England]: Cambridge University Press, 2012.
[11]
D. V. Sarabʹi͡anov, Russian art: from Neoclassicism to the Avant-Garde. London: Thames & Hudson, 1990.
[12]
Maria Gough, ‘Introduction: Made in Moscow’, in The artist as producer: Russian constructivism in revolution, Berkeley: University of California Press, 2005, pp. 1-19-199–201 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=f9ba9803-9dcf-e711-80cd-005056af4099
[13]
John E. Bowlt, ‘K Istorii Russkogo Avangarda (The Russian Avant-Garde). By Nikolai Khardshiev, Kasimir Malevich, and Mikhail Matiushin. Edited by Nikolai Khardshiev. Postscript by Roman Jakobson.’, Slavic Review, vol. 37, no. 2, pp. 351–353, Jun. 1978, doi: 10.2307/2497665.
[14]
Review by: Myroslava M. Mudrak, ‘Review: Russian Artistic Modernism and the West: Collectors, Collections, Exhibitions, and Artists’, The Russian Review, vol. 58, no. 3, pp. 467–481, 1999 [Online]. Available: http://www.jstor.org/stable/2679417
[15]
D. Rebecchini, ‘An influential collector: Tsar Nicholas I of Russia’, Journal of the History of Collections, vol. 22, no. 1, pp. 45–67, May 2010, doi: 10.1093/jhc/fhp030.
[16]
W. Salmond, ‘Pavel Tretiakov’s Icons’, in From realism to the Silver Age: new studies in Russian artistic culture : essays in honor of Elizabeth Kridl Valkenier, vol. Studies of the Harriman Institute, R. P. Blakesley and M. Samu, Eds. DeKalb, IL: NIU Press, 2014, pp. 123–140.
[17]
Walter, Benjamin, ‘Unpacking My Library: A Talk About Book Collecting’, in Illuminations, London: Cape, 1970, pp. 61–69 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=aaa3a5e0-b3d5-e711-80cd-005056af4099
[18]
Jean, Baudrillard, ‘The System of Collecting’, in The cultures of collecting, vol. Critical views, R. Cardinal and J. Elsner, Eds. London: Reaktion Books, 1994, pp. 7–24 [Online]. Available: https://www.dawsonera.com/readonline/9781861894212/startPage/16/1
[19]
Hal Foster, ‘Archives of Modern Art’, October, vol. 99, pp. 81–95, Jan. 2002 [Online]. Available: https://www.jstor.org/stable/779125
[20]
Elizabeth, Kridl. Valkenier, ‘Opening Up to Europe: The Peredvizhniki and the Miriskusniki Respond to the West’, in Russian art and the West: a century of dialogue in painting, architecture, and the decorative arts, DeKalb, IL: Northern Illinois University Press/ Imprint of Cornell University Press, 2006, pp. 45–60 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=bb064eb6-134a-e811-80cd-005056af4099
[21]
C. Ely, ‘A Portrait of the Motherland’, in This meager nature: landscape and national identity in Imperial Russia, DeKalb: Northern Illinois University Press, 2002, pp. 134–229.
[22]
David, Elliott, ‘Ruined Palaces’, in The twilight of the Tsars: Russian art at the turn of the century, London: South Bank Centre, 1991, pp. 13–29 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=87777578-fdaf-e711-80cb-005056af4099
[23]
Tatyana Minkina, ‘The Russian Style Moderne: Art and Design at the Turn of the Century’, in The twilight of the Tsars: Russian art at the turn of the century, London: South Bank Centre, 1991, pp. 30–41.
[24]
D. Jackson, ‘Western Art and Russian Ethics: Repin in Paris, 1873-76’, Russian Review, vol. 57, no. 3, pp. 394–409, Jul. 1998, doi: 10.1111/1467-9434.00031.
[25]
J. E. Bowlt, ‘Stage Design and the Ballets Russes’, The Journal of Decorative and Propaganda Arts, vol. 5, Summer 1987, doi: 10.2307/1503934.
[26]
Molly, Brunson, ‘Dostoevsky’s Realist Image’, in Russian realisms: literature and painting, 1840-1890, DeKalb: Northern Illinois University Press, 2016, pp. 161–196.
[27]
Alison, Hilton, ‘Serov, Bakst, and the Reinvention of Russia’s Classical Heritage’, in From realism to the Silver Age: new studies in Russian artistic culture : essays in honor of Elizabeth Kridl Valkenier, vol. Studies of the Harriman Institute, R. P. Blakesley and M. Samu, Eds. DeKalb, IL: NIU Press, 2014, pp. 152–168.
[28]
J. Kennedy, The ‘Mir iskusstva’ group and Russian art, 1898-1912. 1976.
[29]
J. Kennedy, The ‘Mir iskusstva’ group and Russian art, 1898-1912, vol. Outstanding dissertations in the fine arts. New York: Garland Publishing, Inc, 1977.
[30]
Rosalind P. Blakesley, ‘There is Something There…”: The Peredvizhniki and West European Art’, Experiment, vol. 14, no. 1, pp. 18–366, Jan. 2008, doi: 10.1163/2211730X08X00033.
[31]
C. Rougle, N. A. Gurʹi͡anova, and I. Dorontchenkov, Russian and Soviet views of modern Western art: 1890s to mid-1930s, vol. The documents of twentieth-century art. Berkeley: University of California Press, 2009.
[32]
Rosalind P. Blakesley, ‘Humour on the Wane’, in The Russian canvas: painting in imperial Russia, 1757-1881, New Haven: Yale University Press, 2016, pp. 217–229.
[33]
Rosalind P. Blakesley, ‘Revolt’, in The Russian canvas: painting in imperial Russia, 1757-1881, New Haven: Yale University Press, 2016, pp. 230–240.
[34]
Rosalind P. Blakesley, ‘Facts and Fallacies’, in The Russian canvas: painting in imperial Russia, 1757-1881, New Haven: Yale University Press, 2016, pp. 242–250.
[35]
Rosalind P. Blakesley, ‘An International Context’, in The Russian canvas: painting in imperial Russia, 1757-1881, New Haven: Yale University Press, 2016, pp. 251–255.
[36]
Rosalind P. Blakesley, ‘The French Contention’, in The Russian canvas: painting in imperial Russia, 1757-1881, New Haven: Yale University Press, 2016, pp. 256–263.
[37]
Rosalind P. Blakesley, ‘Apotheosis’, in The Russian canvas: painting in imperial Russia, 1757-1881, New Haven: Yale University Press, 2016, pp. 264–270.
[38]
R. P. Blakesley, Russia and the arts: the age of Tolstoy and Tchaikovsky. London: National Portrait Gallery, 2016.
[39]
D. L. Jackson, The wanderers and critical realism in nineteenth-century Russian art, vol. Critical perspectives in art history. Manchester: Manchester University Press, 2006.
[40]
Molly, Brunson, ‘Painting History, Realistically’, in From realism to the Silver Age: new studies in Russian artistic culture : essays in honor of Elizabeth Kridl Valkenier, vol. Studies of the Harriman Institute, R. P. Blakesley and M. Samu, Eds. DeKalb, IL: NIU Press, 2014, pp. 94–110.
[41]
David Jackson, ‘Western Art and Russian Ethics: Repin in Paris, 1873-76’, The Russian Review, vol. 57, no. 3, pp. 394–409, 1998 [Online]. Available: http://www.jstor.org/stable/131954?seq=1#page_scan_tab_contents
[42]
E. K. Valkenier, Ilya Repin and the world of Russian art, vol. Studies of the Harriman Institute. New York: Columbia University Press, 1990.
[43]
E. K. Valkenier, ‘Ilia Repin and His Critics’, in Critical exchange: art criticism of the eighteenth and nineteenth centuries in Russia and Western Europe, vol. Cultural interactions : studies in the relationship between the arts, Bern: P. Lang, 2008, pp. 227–241 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=842eb0d6-3aba-e711-80cb-005056af4099
[44]
John E. Bowlt, ‘Abramtsevo and Talashkino: The Emergence of the Neo-Nationalist Style’, in The silver age, Russian art of the early twentieth century and the ‘World of art’ group, vol. ORP studies in Russian art history, Newtonville, Mass: Oriental Research partners, 1979.
[45]
Molly, Brunson, ‘Dostoevsky’s Realist Image.’, in Russian realisms: literature and painting, 1840-1890, DeKalb: Northern Illinois University Press, 2016, pp. 127–161.
[46]
Rosalind P. Blakesley, ‘The Venerable Artist’s Fiery Speeches Ringing in my Soul: The Impact of William Morris and his Circle in Nineteenth-Century Russia’, in Internationalism and the arts in Britain and Europe at the Fin de Siècle, vol. Cultural interactions. Studies in the relationship between the arts, Bern: Peter Lang, 2009, pp. 79–105 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=de80edfa-89b5-e711-80cb-005056af4099
[47]
Rosalind. P. Blakesly, ‘Artisans and Aristocrats: The Russian Equation’, in The arts and crafts movement, London: Phaidon, 2006, pp. 159–175 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=10a82dcb-8cb5-e711-80cb-005056af4099
[48]
Alison Hilton, ‘Folk art and social ritual’, in Picturing Russia: explorations in visual culture, V. A. Kivelson and J. Neuberger, Eds. New Haven, Conn: Yale University Press, pp. 96–99 [Online]. Available: http://www.jstor.org/stable/j.ctt5vm1n6.23?seq=1#page_scan_tab_contents
[49]
E. K. Valkenier, From realism to the Silver Age: new studies in Russian artistic culture : essays in honor of Elizabeth Kridl Valkenier, vol. Studies of the Harriman Institute. DeKalb, IL: NIU Press, 2014.
[50]
John E. Bowlt, ‘Two Russian Maecenases: Savva Mamontov and Princess Tenisheva’, in The silver age, Russian art of the early twentieth century and the ‘World of art’ group, 2nd ed. =., vol. ORP studies in Russian art history, Newtonville, Mass: Oriental Research partners, 1982, pp. 444–453.
[51]
John E. Bowlt, ‘Abramtsevo and Talashkino: The Emergence of the Neo-Nationalist Style’, in The silver age, Russian art of the early twentieth century and the ‘World of art’ group, 2nd ed. =., vol. ORP studies in Russian art history, Newtonville, Mass: Oriental Research partners, 1982, pp. 28–46.
[52]
K. Dianina, ‘An Island of Antiquity: The Double Life of Talashkino in Russia and Beyond’, in Rites of place: public commemoration in Russia and Eastern Europe, Evanston, Ill: Northwestern University Press, 2013, pp. 133–156.
[53]
A. Hilton, Russian folk art, vol. Indiana-Michigan series in Russian and East European studies. Bloomington: Indiana University Press, 1995.
[54]
A. Hilton, Russian folk art, vol. Indiana-Michigan series in Russian and East European studies. Bloomington: Indiana University Press, 1995.
[55]
Alison Hilton, ‘Remaking Folk Art: from Russian Revival to Proletcult’, in New perspectives on Russian and Soviet artistic culture, Basingstoke: Macmillan, 1994, pp. 80–94.
[56]
K. Kettering, ‘Decoration and Disconnection: The Russkii stil’ and Russian Decorative Arts at Nineteenth-Century American World’s Fairs’, in Russian art and the West: a century of dialogue in painting, architecture, and the decorative arts, DeKalb, IL: Northern Illinois University Press, 2006, pp. 61–85.
[57]
W. R. Salmond, Arts and crafts in late Imperial Russia: reviving the Kustar art industries, 1870-1917, vol. Modern Architecture&Cultural Identity. [Cambridge]: Cambridge University Press, 1996.
[58]
Wendy. R. Salmond, ‘Design Education and the Quest for National Identity in Late Imperial Russia: The Case of the Stroganov School’, Studies in the Decorative Arts, vol. 1, no. 2, pp. 2–24, 1994 [Online]. Available: http://www.jstor.org/stable/40662491
[59]
‘Crafting Nation: The Challenge to Russian Folk Art in 1913’, Modernism/modernity, vol. 16, no. 4, pp. 743–765, 2009, doi: 10.1353/mod.0.0135.
[60]
John E. Bowlt, ‘The Blue Rose: Russian Symbolism in Art’, The Burlington Magazine, vol. 118, no. 881, pp. 566–575, 1976 [Online]. Available: http://www.jstor.org/stable/878497
[61]
Charles, Rougle, et al, ‘Maxsimilian Voloshin, “Aspirations of the new French painting.”’, in Russian and Soviet views of modern Western art: 1890s to mid-1930s, vol. The documents of twentieth-century art, Berkeley: University of California Press, 2009, pp. 69–71 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=e4517a4e-a8d9-e711-80cd-005056af4099
[62]
Charles, Rougle, et al., ‘Petr Konchavloskii Letters from Paris to il’ia Mashkov (1908)’, in Russian and Soviet views of modern Western art: 1890s to mid-1930s, vol. The documents of twentieth-century art, Berkeley: University of California Press, 2009, pp. 71–74 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=3ece65e3-0ff7-e911-80cd-005056af4099
[63]
Charles, Rougle, et al., ‘Pavel Muratov, “The Golden Fleece Salon”, (1908)’, in Russian and Soviet views of modern Western art: 1890s to mid-1930s, vol. The documents of twentieth-century art, Berkeley: University of California Press, 2009, pp. 74–75 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=458b4f2d-78f5-e911-80cd-005056af4099
[64]
Charles, Rougle, et al., ‘Igor’ Grabar’ , “Moscow exhibitions” (1909)’, in Russian and Soviet views of modern Western art: 1890s to mid-1930s, vol. The documents of twentieth-century art, Berkeley: University of California Press, 2009, pp. 75–76.
[65]
J. E. Bowlt, ‘Nikolai Ryabushinsky: Playboy of the Eastern World’, Apollo: The International Magazine of Art & Antiques, vol. 98, pp. 486–493, 1973 [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=asu&AN=26990998&site=ehost-live&scope=site
[66]
Yu. A. Rusakov and John E. Bowlt, ‘Matisse in Russia in the Autumn of 1911’, The Burlington Magazine, vol. 117, no. 866, pp. 284–291, 1975 [Online]. Available: http://www.jstor.org/stable/878004
[67]
Christina Lodder with Peter Hellyer, ‘St Petersburg/Petrograd/Leningrad: From Aesthetes to Revolutionaries’, in The Oxford critical and cultural history of modernist magazines: Vol. 3: Europe 1880-1940, Oxford: Oxford University Press, 2013, pp. 1248–1275 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=a1ccf205-98d6-e711-80cd-005056af4099
[68]
Oleg Minin, ‘Modernism upheld: Moscow Journals of Art and Literature. Vesy (1904-9; Iskusstvo (1905); Zoltoe Runo (1906-9); and Makovets (1922)’, in The Oxford critical and cultural history of modernist magazines: Vol. 3: Europe 1880-1940, Oxford: Oxford University Press, 2013, pp. 1276–1298.
[69]
A. Hilton, ‘Matisse in Moscow’, Art Journal, vol. 29, no. 2, pp. 166–173, Winter 1969, doi: 10.2307/775225.
[70]
H. Chuchvaha, Art periodical culture in late imperial Russia (1898-1917): print modernism in transition, vol. Library of the written word. Leiden: Brill, 2016.
[71]
J. E. Bowlt, The silver age, Russian art of the early twentieth century and the ‘World of art’ group, vol. ORP studies in Russian art history. Newtonville, Mass: Oriental Research partners, 1979.
[72]
Wassily Kandinsky, ‘Content and Form’, in Russian art of the avant-garde: theory and criticism, 1902-1934, Rev. and enl. Ed., New York: Thames and Hudson, 1988, pp. 17–23.
[73]
Vivian Endicott Barnett, ‘Russian artists in Munich and the Russian participation in Der Blaue Reiter’, in Russian Modernism: cross-currents of German and Russian Art, 1907-1917, München: Prestel, 2015, pp. 61–76.
[74]
Rose-Carol Washton Long, ‘Constructing the total work of art: Painting and the public’, in Vasily Kandinsky: from Blaue Reiter to the Bauhaus, 1910-1925, Ostfildern: Hatje Cantz, 2013, pp. 33–47.
[75]
W. Kandinsky, J. Lloyd, and Neue Galerie New York, Vasily Kandinsky: from Blaue Reiter to the Bauhaus, 1910-1925. Ostfildern: Hatje Cantz, 2013.
[76]
J. Hahl-Koch, ‘Kandinsky’s Role in the Russian Avant-Garde’, in The Avant-garde in Russia, 1910-1930: new perspectives, Los Angeles ; distributed `Cambridge, Mass.’ ; distributed `London’: Los Angeles County Museum of Art : Distributed by MIT, 1980, pp. 84–91 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=a84cd1d3-1c16-e811-80cd-005056af4099
[77]
W. Kandinsky, K. C. Lindsay, and P. Vergo, Kandinsky: complete writings on art, Vol.1: (1901-1921). London: Faber and Faber, 1982.
[78]
W. Kandinsky, K. C. Lindsay, and P. Vergo, Kandinsky: complete writings on art, Vol.2: (1922-1943). London: Faber, 1982.
[79]
W. Kandinsky, J. E. Bowlt, and R.-C. W. Long, The Life of Vasilii Kandinsky in Russian art: a study of ‘On the spiritual in art’, vol. Russian biography series. Newtonville, Mass: Oriental Research Partners, 1980.
[80]
Solomon R. Guggenheim Museum, Kandinsky: Russian and Bauhaus years, 1915-1933. New York: Solomon R. Guggenheim Museum, 1983.
[81]
P. Weiss and W. Kandinsky, Kandinsky and Old Russia: the artist as ethnographer and shaman. New Haven: Yale University Press, 1995.
[82]
S. M. Gontarʹ and W. Kandinsky, Kandinskiĭ: gody v Rossii, 1866-1921. Krasnodar: Severnyĭ Kavkaz, 2002.
[83]
L. Dickerman, M. Affron, and Museum of Modern Art (New York, N.Y.), Inventing abstraction 1910-1925: how a radical idea changed modern art. London: Thames & Hudson, 2012.
[84]
Rose-Carol Washton Long, ‘Kandinsky’s Abstract Style: The Veiling of Apocalyptic Folk Imagery’, Art Journal, vol. 34, no. 3, pp. 217–228, Spring 1975, doi: 10.2307/775993.
[85]
A. Shevchenko, ‘Neoprimitivism: its theory, its potentials, its achievements, 1913’, in Russian art of the avant-garde: theory and criticism, 1902-1934, Rev. and enl. Ed., New York: Thames and Hudson, 1988, pp. 41–54 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=3e07c2e4-b3b4-e711-80cb-005056af4099
[86]
Natalia, Goncharova, ‘Preface to Catalogue of One-Man Exhibition’, in Russian art of the avant-garde: theory and criticism, 1902-1934, Rev. and enl. Ed., New York: Thames and Hudson, 1988, pp. 54–60.
[87]
Sarah, Warren, ‘The Face of the exotic in Imperial Russia.’, in Mikhail Larionov and the cultural politics of late Imperial Russia, Farnham: Ashgate, 2013, pp. 11–46.
[88]
Sarah, Warren, ‘Crafting nation: Avant-Garde resistance to the Imperial folk-art revival’, in Mikhail Larionov and the cultural politics of late Imperial Russia, Farnham: Ashgate, 2013, pp. 47–82.
[89]
B. W. Kean and B. W. Kean, French painters, Russian collectors: the merchant patrons of modern art in pre-revolutionary Russia, Rev. and Updated ed. London: Hodder & Stoughton, 1994.
[90]
B. W. Kean, All the empty palaces: the merchant patrons of modern art in pre-Revolutionary Russia. New York: Universe Books, 1983.
[91]
A. Kostenevich, ‘Moscow Two Great Collectors: Shchukin and Morozov’, in Russia!: nine hundred years of masterpieces and master collections, New York: Guggenheim Museum, 2005, pp. 238–250.
[92]
J. A. Sharp, Russian modernism between East and West: Natal’ia Goncharova and the Moscow avant-garde. New York: Cambridge University Press, 2006.
[93]
J. A. Sharp, ‘The Russian Avant-Garde and Its Audience: Moscow, 1913’, Modernism/modernity, vol. 6, no. 3, pp. 91–116, 1999, doi: 10.1353/mod.1999.0035.
[94]
J. E. Bowlt, M. Drutt, Deutsche Guggenheim Berlin, Royal Academy of Arts (Great Britain), Peggy Guggenheim Collection, and Solomon R. Guggenheim Museum, Amazons of the avant-garde: Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova, and Nadezhda Udaltsova. London: Royal Academy of Arts, 1999.
[95]
J. E. Bowlt, N. Misler, E. N. Petrova, and M. Francone, The Russian avant-garde: Siberia and the East : [Florence, Palazzo Strozzi, 27 September 2013-19 January 2014], First edition. Milano, Itally: Skira, 2013.
[96]
V. Markov, Vladimir Markov and Russian primitivism: a charter for the avant-garde, vol. Studies in art historiography. Burlington: Ashgate, 2015.
[97]
Centre Georges Pompidou.; Soviet Union. Ministerstvo kulʹtury., Paris-Moscou, 1900-1930 : arts plastiques, arts appliqués et objets utilitaires, architecture-urbanisme, agitprop, affiche, théâtre-ballet, littérature, musique, cinéma, photo créative / [organisée par le Ministère de la culture de l’URSS et le Centre Georges Pompidou]. .
[98]
A. Spira, The avant-garde icon: Russian avant-garde art and the icon painting tradition. Aldershot: Lund Humphries, 2008.
[99]
Ilya, Zdanevich and Mikhail, Larionov, ‘Why We Paint Ourselves: A Futurist Manifesto’, in Russian art of the avant-garde: theory and criticism, 1902-1934, Rev. and enl. Ed., New York: Thames and Hudson, 1988, pp. 79–86.
[100]
Mikhail, Larionov and Natalia, Goncharova, ‘Rayonists and Futurists: A Manifesto’, in Russian art of the avant-garde: theory and criticism, 1902-1934, Rev. and enl. Ed., New York: Thames and Hudson, 1988, pp. 87–91.
[101]
Charlotte, Douglas, ‘The Art of Pure Design: the Move to Abstraction in Russian and English Art and Textiles’, in Russian art and the West: a century of dialogue in painting, architecture, and the decorative arts, DeKalb, IL: Northern Illinois University Press, 2006, pp. 86–111.
[102]
Nancy, Perloff, ‘Mirskontsa (Worldbackwards): Collaborative Book Art and Transrational Sounds’, Getty Research Journal, vol. 5, pp. 101–118, 2013 [Online]. Available: https://www.jstor.org/stable/41825350
[103]
Nina Gurianova, ‘A Game in Hell: The Poetics of Chance and Play’, in The aesthetics of anarchy: art and ideology in the early Russian avant-garde, Berkeley: University of California Press, 2012, pp. 87–112.
[104]
Nina Gurianova, ‘Victory Over the Sun and the Theater of Alogism’, in The aesthetics of anarchy: art and ideology in the early Russian avant-garde, Berkeley: University of California Press, 2012, pp. 112–131.
[105]
Nina Gurianova, ‘Deconstructing the Canon: Russian Futurist Books’, in The aesthetics of anarchy: art and ideology in the early Russian avant-garde, Berkeley: University of California Press, 2012, pp. 132–160.
[106]
N. A. Gurʹi͡anova, Exploring color: Olga Rozanova and the early Russian avant-garde, 1910-1918. Amsterdam ; Abingdon: G+B Arts International, 1999.
[107]
M. Perloff, The futurist moment: avant-garde, avant guerre, and the language of rupture. Chicago: University of Chicago Press, 1986.
[108]
P. Hellyer and British Library, A catalogue of Russian avant-garde books 1912-1934 and 1969-2003, 2nd ed. London: British Library, 2006.
[109]
Vladimir. Markov, Russian futurism : a history / by Vladimir Markov. .
[110]
V. Markov, Russian futurism: a history. Washington, DC: New Academia, 2006.
[111]
S. P. Compton and British Library, The world backwards: Russian futurist books, 1912-16. London: British Museum Publications Ltd [for] the British Library, 1978.
[112]
S. P. Compton and British Library, Russian avant-garde books 1917-34. London: The British Library, 1992.
[113]
Yve-Alain Bois, ‘1915’, in Art since 1900: modernism, antimodernism, postmodernism, London: Thames & Hudson, 2004, pp. 142–146 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=36b92bda-b5b4-e711-80cb-005056af4099
[114]
Kazimir, Malevich, ‘From Cubism and Futurism to Suprematism: The New Painterly Realism. (1915)’, in Russian art of the avant-garde: theory and criticism, 1902-1934, Rev. and enl. Ed., New York: Thames and Hudson, 1988, pp. 116–135.
[115]
Christina Lodder, ‘Malevich Scholarship: A Brief Introduction’, in Rethinking Malevich: proceedings of a conference in celebration of the 125th anniversary of Kazimir Malevich’s birth, London: Pindar Press, 2007, pp. ix–xxii [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=7261246d-f412-e811-80cd-005056af4099
[116]
P. Kachurin, ‘Working (for) the State: Vladimir Tatlin’s Career in Early Soviet Russia and the Origins of The Monument to the Third International’, Modernism/modernity, vol. 19, no. 1, pp. 19–41, 2012, doi: 10.1353/mod.2012.0001.
[117]
M. Dabrowski, ‘Malevich and Mondrian: Nonobjective Form as the Expression of the “Absolute”’, in The Avant-garde frontier: Russia meets the West, 1910-1930, Gainesville: University Press of Florida, 1992, pp. 145–168 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=c661204f-9fc3-e711-80cb-005056af4099
[118]
A. Gan and C. Lodder, Constructivism. Barcelona: Editorial Tenov, 2013.
[119]
K. S. Malevich, Kazimir Malevich. London: Tate Publishing, 2014.
[120]
Jane A. Sharp, ‘The Critical Reception of the 0.10 Exhibition. Malevich and Benua’, in The Great utopia: the Russian and Soviet avant-garde, 1915-1932, New York, N.Y. : Distributor: Guggenheim Museum : Rizzoli International Publications, Inc, 1992, pp. 38–52.
[121]
S. Barron, M. Tuchman, Los Angeles County Museum of Art, and Hirshhorn Museum and Sculpture Garden, The Avant-garde in Russia, 1910-1930: new perspectives. Los Angeles ; distributed `Cambridge, Mass.’ ; distributed `London’: Los Angeles County Museum of Art : Distributed by MIT, 1980.
[122]
J. Milner, Vladimir Tatlin and the Russian avant-garde. New Haven: Yale University Press, 1983.
[123]
J. Milner, Vladimir Tatlin and the Russian avant-garde. New Haven: Yale University Press, 1983.
[124]
Natan, Altman, ‘Futurism and Proletarian Art’ (1918)’, in Russian art of the avant-garde: theory and criticism, 1902-1934, Rev. and enl. Ed., New York: Thames and Hudson, 1988, pp. 161–164.
[125]
Sergei, Tretiakov, ‘Art in the Revolution and the Revolution in Art (Aesthetic Consumption and Production)’, October, vol. 118, pp. 11–18, Oct. 2006 [Online]. Available: https://www.jstor.org/stable/40368439
[126]
Vladimir, Ilyich, Lenin, ‘On Proletarian Culture (1920)’, in Art in theory, 1900-1990: an anthology of changing ideas, Oxford: Blackwell, 1992, pp. 383–384.
[127]
Leon, Trotsky, ‘Literature and Revolution (1922-3)’, in Art in theory 1900-2000: an anthology of changing ideas, New ed., Malden, Mass: Blackwell, 2003, pp. 427–432.
[128]
D. King, Red star over Russia: a visual history of the Soviet Union from 1917 to the death of Stalin : posters, photographs and graphics from the David King collection. London: Tate, 2009.
[129]
C. Kiaer, ‘Boris Arvatov’s Socialist Objects’, October, vol. 81, pp. 105–118, 1997, doi: 10.2307/779021.
[130]
B. Arvatov and C. Kiaer, ‘Everyday Life and the Culture of the Thing (Toward the Formulation of the Question)’, October, vol. 81, pp. 119–128, 1997, doi: 10.2307/779022.
[131]
Susan, Buck-Morss, ‘Culture for the masses’, in Dreamworld and catastrophe: the passing of mass utopia in East and West, Cambridge, Mass: MIT Press, 2000, pp. 134–173 [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=nlebk&AN=50381&site=ehost-live&scope=site&ebv=EB&ppid=pp_134
[132]
Susan, Buck-Morss, ‘Culture for the masses’, in Dreamworld and catastrophe: the passing of mass utopia in East and West, Cambridge, Mass: MIT Press, 2000, pp. 134–173.
[133]
M. Tupitsyn, V. Todoli, Kratiko Mouseio Synchronēs Technēs (Greece), Museo Nacional Centro de Arte Reina Sofía, and Tate Modern (Gallery), Rodchenko & Popova: redifining contructivism. London: Tate Publishing, 2009.
[134]
C. Wilk and Victoria and Albert Museum, Modernism: designing a new world, 1914-1939. London: V&A, 2006.
[135]
Solomon R. Guggenheim Museum, Gosudarstvennai͡a Tretʹi͡akovskai͡a galerei͡a, Gosudarstvennyĭ russkiĭ muzeĭ (Saint Petersburg, Russia), and Schirn Kunsthalle Frankfurt, The Great utopia: the Russian and Soviet avant-garde, 1915-1932. New York, N.Y. : Distributor: Guggenheim Museum : Rizzoli International Publications, Inc, 1992.
[136]
T. Kudryavtseva and Gosudarstvennyĭ Ėrmitazh (Russia), Circling the square: avant-garde porcelain from revolutionary Russia. London: Fontanka, 2004.
[137]
C. Kiaer, Imagine no possessions: the socialist objects of Russian constructivism. Cambridge, Mass: MIT Press, 2005.
[138]
J. Anděl, R. Andrews, M. Kalinovska, Henry Art Gallery, Walker Art Center, and Gosudarstvennai͡a Tretʹi͡akovskai͡a galerei͡a, Art into life: Russian constructivism, 1914-1932. New York: Rizzoli, 1990.
[139]
Maria Gough, ‘Composition and Construction’, in The artist as producer: Russian constructivism in revolution, Berkeley: University of California Press, 2005, pp. 21–60.
[140]
Maria Gough, ‘In the Laboratory of Constructivism’, in The artist as producer: Russian constructivism in revolution, Berkeley: University of California Press, 2005, pp. 61–100.
[141]
Christina Lodder, ‘Soviet Constructivism’, in Art of the avant-gardes, vol. Art of the 20th century, New Haven: Yale University Press in association with the Open University, 2004, pp. 359–395.
[142]
J. E. Bowlt, ‘Constructivism and Russian Stage Design’, Performing Arts Journal, vol. 1, no. 3, pp. 62–84, Winter 1977, doi: 10.2307/3245250.
[143]
John E. Bowlt, ‘Women of genius’, in Amazons of the avant-garde: Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova, and Nadezhda Udaltsova, London: Royal Academy of Arts, 1999, pp. 2–38.
[144]
Charlotte Douglas, ‘Six (and a few more) Russian women of the avant-Garde Together’, in Amazons of the avant-garde: Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova, and Nadezhda Udaltsova, London: Royal Academy of Arts, 1999, pp. 39–58.
[145]
Christina Kiaer, ‘The Russian Constructivist Flapper Dress’, Critical Inquiry, vol. 28, no. 1, pp. 185–243, 2001 [Online]. Available: http://www.jstor.org/stable/1344266
[146]
Maria Gough, ‘In the laboratory of constructivism’, in The artist as producer: Russian constructivism in revolution, Berkeley: University of California Press, 2005, pp. 61–99.
[147]
V. E. Bonnell, ‘The Representation of Women in Early Soviet Political Art’, Russian Review, vol. 50, no. 3, pp. 267–288, Jul. 1991, doi: 10.2307/131074.
[148]
S. E. Reid, ‘All Stalin’s Women: Gender and Power in Soviet Art of the 1930s’, Slavic Review, vol. 57, no. 01, pp. 133–173, 1998 [Online]. Available: https://www.jstor.org/stable/2502056
[149]
M. I͡Ablonskai͡a and A. Parton, Women artists of Russia’s new age, 1900-1935. London: Thames and Hudson, 1990.
[150]
C. Harrison and P. Wood, ‘October (Association of Artistic Labour), Declaration’ (1928)’, in Art in theory 1900-2000: an anthology of changing ideas, New ed., Malden, Mass: Blackwell, 2003, pp. 465–467.
[151]
C. Harrison and P. Wood, ‘AKhRR, “Declaration” (1922)’, in Art in theory 1900-2000: an anthology of changing ideas, New ed., Malden, Mass: Blackwell, 2003, pp. 384–385.
[152]
M. Gough, ‘Back in the USSR: John Heartfield, Gustavs Klucis, and the Medium of Soviet Propaganda’, New German Critique, vol. 36, no. 2 107, pp. 133–183, Jan. 2009, doi: 10.1215/0094033X-2009-004.
[153]
Christina Kiaer, ‘Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s’, Oxford Art Journal, vol. 28, no. 3, pp. 323–345, 2005 [Online]. Available: http://www.jstor.org/stable/4500026?seq=1#page_scan_tab_contents
[154]
L. Mally, Culture of the future: the Prolekult movement in revolutionary Russia, vol. Studies on the history of society and culture. Berkeley, [Calif.]: University of California Press, 1990.
[155]
Sheila Fitzpatrick, ‘The Arts: First Contacts with the Literary and Artistic World’, in The Commissariat of Enlightenment: Soviet organization of education and the arts under Lunacharsky, October 1917-1921, vol. Soviet and East European studies, London: Cambridge University Press, 1970, pp. 110–161.
[156]
S. Fitzpatrick, The Commissariat of Enlightenment: Soviet organization of education and the arts under Lunacharsky, October 1917-1921. London: Cambridge University Press, 1970.
[157]
S. Fitzpatrick, The Commissariat of Enlightenment: Soviet organization of education and the arts under Lunacharsky, October 1917-1921. London: Cambridge University Press, 1970.
[158]
V. P. Tolstoĭ, I. M. Bibikova, and C. Cooke, Street art of the revolution: festivals and celebrations in Russia, 1918-33. London: Thomas and Hudson, 1990.
[159]
P. J. Kachurin, Making modernism Soviet: the Russian avant-garde in the early Soviet era, 1918-1928. Evanston, Ill: Northwestern University Press, 2013.
[160]
B. H. D. Buchloh, ‘From Faktura to Factography’, October, vol. 30, pp. 82–119, Autumn 1984, doi: 10.2307/778300.
[161]
Christina, Lodder, ‘El Lissitzky and International Constructivism in Berlin 1922-1925’, in Constructive strands in Russian art, 1914-1937, London: Pindar, 2005, pp. 499–520.
[162]
G. H. Roman and V. C. H. Marquardt, The Avant-garde frontier: Russia meets the West, 1910-1930. Gainesville: University Press of Florida, 1992.
[163]
A. Odom and W. R. Salmond, Treasures into tractors: the selling of Russia’s cultural heritage, 1918-1938. Washington, D.C.: Hillwood Estate, 2009.
[164]
J. Anysley, ‘Pressa Cologne, 1928: Exhibitions and Publication Design in the Weimar Period’, Design Issues, vol. 10, no. 3, pp. 52–76, Autumn 1994, doi: 10.2307/1511692.
[165]
Christina Kiaer, ‘Rodchenko in Paris’, October, vol. 75, pp. 3–35, 1996 [Online]. Available: http://www.jstor.org/stable/778897?seq=1#page_scan_tab_contents
[166]
Christina, Lodder, ‘El Lissitzky and the Export of Constructivism’, in Situating El Lissitzky: Vitebsk, Berlin, Moscow, vol. Issues&debates, Los Angeles, CA: Getty Research Institute, 2003, pp. 27–46.
[167]
Sophie Lissitzky- Küppers, ‘Exhibition Rooms: Proun Room, Great Berlin Art Exhibition 1923. Exhibition rooms’, in El Lissitzky: life, letters, texts, Thames & Hudson, 1968, pp. 27–46.
[168]
Maria, Gough, ‘Constructivism Disoriented: El Lissitzky’s Dresden and Hanover Demonstrationraume’, in Situating El Lissitzky: Vitebsk, Berlin, Moscow, vol. Issues&debates, Los Angeles, CA: Getty Research Institute, 2003, pp. 77–129.
[169]
Linda, Boersma, ‘Malevich, Lissitzky, Van Doesburg and De Stijl’, in Rethinking Malevich: proceedings of a conference in celebration of the 125th anniversary of Kazimir Malevich’s birth, London: Pindar Press, 2007, pp. 223–236.
[170]
Walter, Benjamin, ‘A Small History of Photography’, in One-way street, and other writings, London: NLB, 1979, pp. 240–257 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=7f730a76-b5b4-e711-80cb-005056af4099
[171]
Walter Benjamin, ‘Moscow Diary’, October, vol. 35, pp. 4–9; 135, Winter 1985 [Online]. Available: https://www.jstor.org/stable/778471
[172]
A. Rodchenko, ‘A caution (1928)’, in Photography in the modern era: European documents and critical writings, 1913-1940, New York: Metropolitan Museum of Art, 1989, pp. 264–266 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=de211eac-b4b4-e711-80cb-005056af4099
[173]
Sergei Tretiakov, ‘'Photo Notes’ (1928)’, in Photography in the modern era: European documents and critical writings, 1913-1940, New York: Metropolitan Museum of Art, 1989, pp. 252–255.
[174]
L. Dickerman, ‘The Fact and the Photograph’, October, vol. 118, pp. 132–152, Oct. 2006 [Online]. Available: https://www.jstor.org/stable/40368449
[175]
‘October’ [Online]. Available: http://www.jstor.org/stable/i40016111
[176]
Walter Benjamin, ‘The Author as Producer’, in Selected writings: Volume 2: 1927-1934, Cambridge, Ma: The Belknap Press of Harvard University, 1999, pp. 768–782 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=1a2c6f88-08d1-e711-80cd-005056af4099
[177]
Walter, Benjamin, ‘The Work of Art in the Age of Mechanical Reproduction’, in Illuminations, London: Cape, 1970, pp. 217–251.
[178]
Aleksandr Rodchenko, ‘Against the Synthetic Portrait, for the Snapshot’ (1928)’, in Photography in the modern era: European documents and critical writings, 1913-1940, New York: Metropolitan Museum of Art, 1989, pp. 238–241.
[179]
Anon, ‘Program of the October Photo Section’, in Photography in the modern era: European documents and critical writings, 1913-1940, New York: Metropolitan Museum of Art, 1989, pp. 238–285.
[180]
OSIP BRIK and Natasha Kurchanova, ‘Selected Criticism, 1915-1929’, October, vol. 134, pp. 74–110, 2010 [Online]. Available: http://www.jstor.org/stable/40926709?seq=1#page_scan_tab_contents
[181]
Hubertus Gassner, ‘Heartfield’s Moscow Apprenticeship 1931-32’, in John Heartfield, AIZ: Arbeiter-Illustrierte Zeitung, Volks Illustrierte, 1930-1938, New York, NY, U.S.A: Kent, 1992, pp. 256–287.
[182]
Varvara, Stepanova, ‘Photomontage, (1928)’, in Photography in the modern era: European documents and critical writings, 1913-1940, New York: Metropolitan Museum of Art, 1989, pp. 234–237.
[183]
Gustav, Klucis, ‘The Photomontage as a New Kind of Agitation Art (1931)’, in Gustav Klutsis and Valentina Kulagina: photography and montage after constructivism, 1st ed., New York: International Center of Photografy, 2004, pp. 237–240.
[184]
Maria Gough, ‘Back in the USSR: John Heartfield, Gustavs Klucis, and the Medium of Soviet Propaganda’, New German Critique, vol. 36, no. 107, pp. 133–183, Winter 2009 [Online]. Available: http://ngc.dukejournals.org/content/36/2_107/133.abstract
[185]
Maria Gough, ‘Drawing Between Reportage and Memory: Diego Rivera’s Moscow Sketchbook’, October, vol. 145, pp. 67–84, 2013 [Online]. Available: https://www.jstor.org/stable/24586644
[186]
Christina Lodder, ‘The VKhUTEMAS and the Bauhaus’, in The Avant-garde frontier: Russia meets the West, 1910-1930, Gainesville: University Press of Florida, 1992, pp. 196–240.
[187]
Frederick Starr, ‘Le Corbusier and the USSR: New Documentation’, Cahiers du Monde russe et soviétique, vol. 21, no. 2, pp. 209–221, 1980 [Online]. Available: http://www.jstor.org/stable/20169889?seq=1#page_scan_tab_contents
[188]
M. Gough, ‘Drawing Between Reportage and Memory: Diego Rivera’s Moscow Sketchbook’, October, vol. 145, pp. 67–84, Jul. 2013 [Online]. Available: https://www.jstor.org/stable/24586644
[189]
William Richardson, ‘The Dilemmas of a Communist Artist: Diego Rivera in Moscow, 1927-1928’, Mexican Studies/Estudios Mexicanos, vol. 3, no. 1, pp. 49–69, Jan. 1987 [Online]. Available: https://www.jstor.org/stable/4617031
[190]
Donald Leslie Johnson, ‘Frank Lloyd Wright in Moscow: June 1937’, Journal of the Society of Architectural Historians, vol. 46, no. 1, pp. 65–79, Mar. 1987 [Online]. Available: https://www.jstor.org/stable/990146
[191]
I. Kokkinaki, ‘First exhibition of modern architecture in Moscow {1927}.’, Architectural Design, vol. 53, no. 5/6, 1983.
[192]
W. C. Brumfield, The origins of modernism in Russian architecture. Berkeley: University of California Press, 1991.
[193]
J.-L. Cohen, Le Corbusier and the mystique of the USSR: theories and projects for Moscow, 1928-1936. Princeton, N.J: Princeton University Press, 1992.
[194]
Frederick S. Starr, ‘OSA: the Union of Contemporary Architects’, in Russian Modernism: culture and the avant-garde, 1900-1930, Ithaca, N.Y.: Cornell University Press, 1976, pp. 188–208.
[195]
John E. Bowlt, ‘Central Committee of the All-Union Communist Party (Bolsheviks), "Decree on the Reconstruction of Literary and Artistic Organizations’, in Russian art of the avant-garde: theory and criticism, 1902-1934, Rev. and enl. Ed., New York: Thames and Hudson, 1988, pp. 288–289.
[196]
Andrei Zhadanov et al, ‘Extracts of contributions to the 1st All-Union Congress of Soviet Writers’, in Russian art of the avant-garde: theory and criticism, 1902-1934, Rev. and enl. Ed., New York: Thames and Hudson, 1988, pp. 290–297.
[197]
B. Groĭs, The total art of Stalinism: avant-garde, aesthetic dictatorship, and beyond. Princeton, N.J.: Princeton University Press, 1992.
[198]
L. Dickerman, ‘Camera Obscura: Socialist Realism in the Shadow of Photography’, October, vol. 93, Summer 2000, doi: 10.2307/779160.
[199]
Evgeny, Dobrenko, ‘Socialism as Will and Representation’, in Politėkonomii͡a sot͡srealizma. (The Political Economy of Socialist Realism), vol. Biblioteka zhurnala ‘Neprikosnovennyĭ zapas’, Moskva: Novoe literaturnoe obozrenie, 2007, pp. 1–75.
[200]
Christina Kiaer, ‘Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s’, Oxford Art Journal, vol. 28, no. 3, pp. 323–345, 2005 [Online]. Available: http://www.jstor.org/stable/4500026?seq=1#page_scan_tab_contents
[201]
Michael Geyer and Sheila Fitzpatrick, Eds., Beyond Totalitarianism: Stalinism and Nazism compared. Cambridge: Cambridge University Press, 2008 [Online]. Available: http://ebooks.cambridge.org/ref/id/CBO9780511802652
[202]
M. Geyer and S. Fitzpatrick, Beyond totalitarianism: Stalinism and Nazism compared. Cambridge: Cambridge University Press, 2009.
[203]
V. Papernyĭ, Architecture in the age of Stalin: culture two, [English ed.]., vol. Cambridge studies in new art history and criticism. Cambridge: Cambridge University Press, 2002.
[204]
Theodor, W. Adorno, ‘Presentation 1: Ernest Bloch. Discussing Expressionism. George Lukacs. Realism in the Balance.’, in Aesthetics and politics, vol. Radical thinkers, London: Verso, 2007, pp. 9–27 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=242b94c3-7eb5-e711-80cb-005056af4099
[205]
Theodor W. Adorno, ‘Presentation 2: Bertolt Brecht: Against Georg Lukacs. Walter Benjamin: Coversations with Brecht’, in Aesthetics and politics, vol. Radical thinkers, London: Verso, 2007, pp. 68–99.
[206]
Katerina Clark, ‘The Author as Producer: Cultural Revolution in Berlin and Moscow (1930–1931)’, in Moscow, the fourth Rome: Stalinism, cosmopolitanism, and the evolution of Soviet culture, 1931-1941, vol. ACLS Humanities E-book, Cambridge, Mass: Harvard University Press, 2011, pp. 42–77 [Online]. Available: https://www.jstor.org/stable/j.ctt24hjm6.4
[207]
Katerina Clark, ‘The Return of the Aesthetic’, in Moscow, the fourth Rome: Stalinism, cosmopolitanism, and the evolution of Soviet culture, 1931-1941, vol. ACLS Humanities E-book, Cambridge, Mass: Harvard University Press, 2011, pp. 105–135 [Online]. Available: https://www.jstor.org/stable/j.ctt24hjm6.6
[208]
Danilo Udovički-Selb, ‘Facing Hitler’s Pavilion: The Uses of Modernity in the Soviet Pavilion at the 1937 Paris International Exhibition’, Journal of Contemporary History, vol. 47, no. 1, pp. 13–47, 2012 [Online]. Available: http://www.jstor.org/stable/23248980
[209]
Anthony Swift, ‘The Soviet World of Tomorrow at the New York World’s Fair, 1939’, The Russian Review, vol. 57, no. 3, pp. 364–379, 1998 [Online]. Available: http://www.jstor.org/stable/131952
[210]
S. E. Reid, ‘Cold War Cultural Transactions: Designing the USSR for the West at Brussels Expo ’58’, Design and Culture, vol. 9, no. 2, pp. 123–145, May 2017, doi: 10.1080/17547075.2017.1333388.
[211]
Hayward Gallery, Centre de Cultura Contemporània de Barcelona, and Deutsches Historisches Museum, Art and power: images of the 1930s. London: South Bank Centre, 1995.
[212]
G. H. Roman and V. C. H. Marquardt, The Avant-garde frontier: Russia meets the West, 1910-1930. Gainesville: University Press of Florida, 1992.