Kochman 21Schnei<strong>de</strong>r, Ludwig. “Die russische Stu<strong>de</strong>ntenkolonie und dasEcho <strong>de</strong>s revolutionären Russl<strong>and</strong> <strong>in</strong> München vor 1914,”<strong>in</strong> Bayern <strong>in</strong> Umbruch, Ed. Karl Bosl. <strong>Munich</strong> & Vienna:R. Ol<strong>de</strong>nbourg, 1969: 75-96.Schorske, Carl. German Social Democracy 1905-1907. TheDevelopment of the Great Schism, Harvard HistoricalStudies, 65. Cambridge, MA: Harvard University Press,1983 (1955).Smithsonian Institution, Russia - The L<strong>and</strong>, The People.<strong>Russian</strong> Pa<strong>in</strong>t<strong>in</strong>g 1850-1910, exh. cat. Wash<strong>in</strong>gton D.C.:Smithsonian Institution, 1986.Staatliche Russisches Museum <strong>and</strong> Kunsthalle Krems,Russl<strong>and</strong> - Rep<strong>in</strong> und die Realisten, exh. cat. np.: PalaceEditions, 2002.Starr, S. Fre<strong>de</strong>rick. “<strong>Russian</strong> Art <strong>and</strong> Society, 1800-1850,”<strong>in</strong> Art <strong>and</strong> Culture <strong>in</strong> N<strong>in</strong>eteenth-Century Russia, Ed.Theofanis Stavrou, Bloom<strong>in</strong>gton: Indiana UP, 1982: 87-112.Stasov, Vladimir Vasil’evich. Izbrannoe. Zhivopis’,skul’ptura, grafika. 2 vols. Moscow & Len<strong>in</strong>grad:Iskusstvo, 1951.Stern<strong>in</strong>, Grigorii. Khuhdozhestvennaia zhizn’ Rossii narubezhe XIX-XX vekov. Moscow: Iskusstvo, 1970.________Khudozhestvennaia zhizn Rossii sered<strong>in</strong>y XIX veka.Moscow: Iskusstvo, 1991.V. G. “Mezhdunarodnaia khudozhestvennaia vystavka vMiunkhene,” Khudozhnik no. 13 (1 July 1892): 46-47.Valkenier, Elizabeth Kridl. Ilya Rep<strong>in</strong> <strong>and</strong> the World of<strong>Russian</strong> Art. New York: Columbia University, 1990.________ ed. The W<strong>and</strong>erers: Masters of 19th-Century<strong>Russian</strong> Pa<strong>in</strong>t<strong>in</strong>g, exh. cat. Dallas: Dallas Museum ofArt, 1990.Washton Long, Rose Carol. “K<strong>and</strong><strong>in</strong>sky <strong>and</strong> Abstraction, theRole of the Hid<strong>de</strong>n Image.” Art Forum X, 10 (June 1972):42-49.____________ “K<strong>and</strong><strong>in</strong>sky’s Abstract Style: The Veil<strong>in</strong>g ofApocalyptic Folk Imagery,” Art Journal XXIV, 3 (Spr<strong>in</strong>g1975): 217-227.____________K<strong>and</strong><strong>in</strong>sky: The Development of an AbstractStyle. Oxford: Clarendon, 1980.Weiss, Peg. K<strong>and</strong><strong>in</strong>sky <strong>in</strong> <strong>Munich</strong>: The Formative JugendstilYears. Pr<strong>in</strong>ceton: Pr<strong>in</strong>ceton University Press, 1979.Werefk<strong>in</strong>, Marianne. Briefe an e<strong>in</strong>en Unbekannten, Ed.Clemens Weiler. Cologne: M. DuMont, 1960.Zweite, Arm<strong>in</strong>, The Blue Ri<strong>de</strong>r <strong>in</strong> the Lenbachhaus <strong>Munich</strong>.<strong>Munich</strong>: Prestel, 1989.END NOTES1. Re<strong>in</strong>hold Heller, “Brücke: Prelim<strong>in</strong>ary Observations,” <strong>in</strong> Brücke,by Re<strong>in</strong>hold Heller, exh. Cat. (Evanston: Mary <strong>and</strong> Leigh BlockGallery, 1988), 3-9.2. Rose Carol Washton Long, K<strong>and</strong><strong>in</strong>sky: The Development of anAbstract Style (Oxford: Clarendon, 1980); John E. Bowlt <strong>and</strong>Rose-Carol Washton Long, eds. The Life of Vasili K<strong>and</strong><strong>in</strong>sky <strong>in</strong><strong>Russian</strong> Art. A Study of “On the Spiritual <strong>in</strong> Art”, 2nd ed. trans.John E. Bowlt. <strong>Russian</strong> Biography Series, 4. (Newtonville:Oriental Research Partners, 1984); Peg Weiss, K<strong>and</strong><strong>in</strong>sky <strong>in</strong><strong>Munich</strong>: The Formative Jugendstil Years (Pr<strong>in</strong>ceton: Pr<strong>in</strong>cetonUP, 1979); Magdalena M. Moeller, ed. Der Frühe K<strong>and</strong><strong>in</strong>sky1900-1910, exh. cat. (<strong>Munich</strong>: Hirmer, 1994).3. Ibid. For additional examples, see also Bernd Fäthke, AlexejJawlensky, Zeichnung-Graphik-Dokumente. exh. cat.(Wiesba<strong>de</strong>n: Museum Wiesba<strong>de</strong>n, 1983); Jawlensky und se<strong>in</strong>eWeggefährten <strong>in</strong> neuem Licht (<strong>Munich</strong>: Hirmer Verlag, 2004);Marianne Werefk<strong>in</strong>, Leben und Werk 1860-1938. exh. cat.(Ascona: Monte Verita <strong>and</strong> <strong>Munich</strong>: Prestel, 1988) <strong>and</strong>Marianne Werefk<strong>in</strong> (<strong>Munich</strong>, Germany Hirmer 2001);Re<strong>in</strong>holdHeller, Gabriele Münter. The Years of Expressionism 1903-1920, exh.cat. (<strong>Munich</strong> & New York: Prestel, 1997).4. Richard G. Robb<strong>in</strong>s Jr., Fam<strong>in</strong>e <strong>in</strong> Russia 1891-1892, (New York;London: Columbia University Press, 1975).5. Some useful Western sources on the Association are Alison Hilton,“Scenes from Life <strong>and</strong> Contemporary History,” The EuropeanRealist Tradition, ed. by Gabriel P. Weisberg (Bloom<strong>in</strong>gton:Indiana UP, 1982),187-214; The W<strong>and</strong>erers: Masters of 19th-Century <strong>Russian</strong> Pa<strong>in</strong>t<strong>in</strong>g, ed. by Elizabeth Kridl Valkenier,exh.cat. (Dallas: Dallas Museum of Art, 1990);Kulturm<strong>in</strong>isterium <strong>de</strong>r USSR & Kunsthaus Zurich, RussischeMalerei im 19. Jahrhun<strong>de</strong>rt, Realismus, Impressionismus,Symbolismus, exh. cat. (Kulturm<strong>in</strong>isterium <strong>de</strong>r USSR &Kunsthaus Zurich, 1989); Smithsonian Institution, Russia - TheL<strong>and</strong>, The People. <strong>Russian</strong> Pa<strong>in</strong>t<strong>in</strong>g 1850-1910, exh. cat.(Wash<strong>in</strong>gton D.C.: Smithsonian Institution, 1986). <strong>Russian</strong>sources <strong>in</strong>clu<strong>de</strong> Frida S. Rog<strong>in</strong>skaia, Tovarishchestvoperedvizhnikh khudozhestvennykh vystavok: Istoricheskieocherki (Moscow: Iskusstvo, 1989) <strong>and</strong> A. Novitskii,Peredvizhniki i vliianie ikh na russkoe iskusstvo (Moscow 1897).A wealth of <strong>in</strong>formation can also be found <strong>in</strong> publishedcorrespon<strong>de</strong>nce of <strong>artists</strong> belong<strong>in</strong>g to the Association <strong>and</strong> theircontemporaries, <strong>in</strong>clud<strong>in</strong>g Vladimir Stasov, the organization’snoted supporter <strong>and</strong> critic. See Stasov, Vladimir Vasil’evich.Izbrannoe. Zhivopis’, skul’ptura, grafika. 2 vols. (Moscow &Len<strong>in</strong>grad: Iskusstvo, 1951).6. For further <strong>de</strong>tails on the 1863 secession <strong>and</strong> the activities of theArtel’ see Valkenier, <strong>Russian</strong> Realist Art, 33-37 <strong>and</strong> 224. Thefourteen <strong>artists</strong> are Nikolai Dmitriev-Orenburgsky, Alex<strong>and</strong>erGrigorev, Alexei Korzhuk<strong>in</strong>, Ivan Kramskoy, Karl Lemokh,Alex<strong>and</strong>er Litovchenko, Konstant<strong>in</strong> Makovsky, Alex<strong>and</strong>erMorozov, Mikhail Peskov, Nikolai Petrov, Nikolai Shustov,Bogdan Venig <strong>and</strong> Firs Zhuravlev.7. The tightly knit power the tsar held over the Aca<strong>de</strong>my essentially<strong>de</strong>veloped un<strong>de</strong>r the reign of Nicholas I (1825-1855) as part ofhis extensive bureaucratization of the government. In 1840, heeffectively ensured his control over the Aca<strong>de</strong>my by amend<strong>in</strong>gthe school’s statutes to move its jurisdiction from un<strong>de</strong>r theM<strong>in</strong>istry of Education to that of the Imperial Household. Thisshift permitted him to appo<strong>in</strong>t members of his family to thepresi<strong>de</strong>ncy of the Aca<strong>de</strong>my, which he <strong>in</strong>itiated <strong>in</strong> 1843 byassign<strong>in</strong>g his son-<strong>in</strong>-law to the post. From then on, until thefall of the tsarist regime <strong>in</strong> 1917, the presi<strong>de</strong>ncy was held by amember of the royal family. For <strong>in</strong>formation on the effects ofNicholas I’s bureaucratization on government <strong>and</strong> the people,such as <strong>de</strong>personalization <strong>and</strong> isolation, see Sidney Monas,
Emporia State Research Studies 45(1), 2009 22“Bureaucracy <strong>in</strong> Russia Un<strong>de</strong>r Nicholas I,” <strong>in</strong> The Structure of<strong>Russian</strong> History ed. Michael Cherniavsky, (New York: R<strong>and</strong>omHouse, 1970), 269-281 as well as S. Fre<strong>de</strong>rick Starr, “<strong>Russian</strong>Art <strong>and</strong> Society, 1800-1850,” <strong>in</strong> Art <strong>and</strong> Culture <strong>in</strong> N<strong>in</strong>eteenth-Century Russia, ed. Theofanis Stavrou, (Bloom<strong>in</strong>gton: IndianaUP, 1982), 87-112. For an example of how the tsarist systemdirectly affected <strong>artists</strong>, as <strong>in</strong> the case of Ilya Rep<strong>in</strong>, seeElizabeth Kridl Valkenier, Ilya Rep<strong>in</strong> <strong>and</strong> the World of <strong>Russian</strong>Art. (New York: Columbia University, 1990), 24.8. The lead<strong>in</strong>g <strong>Russian</strong> <strong>in</strong>tellectual voic<strong>in</strong>g the populist agenda <strong>in</strong>art was Nicolai Chernishevsky (1828-1889). In his book “TheAesthetic Relation of Art to Reality” published <strong>in</strong> 1855,Chernishevsky argued that art should serve the <strong>in</strong>terests of thepeople <strong>and</strong> not the government. He called for the ab<strong>and</strong>onmentof portray<strong>in</strong>g i<strong>de</strong>alized forms of beauty <strong>and</strong> a perfect reality <strong>in</strong>favor of an aesthetic more broadly connected to the <strong>in</strong>terests<strong>and</strong> daily lives of real people. For more <strong>in</strong>formation onChernyshevsky <strong>and</strong> his relevance for <strong>Russian</strong> art, see Valkenier,<strong>Russian</strong> Realist Art, 10-17; W.J. Leatherbarrow <strong>and</strong> D.C. Offord,trans. ed. A Documentary History of <strong>Russian</strong> Thought from theEnlightenment to Marxism, (Ann Arbor: Ardis, 1987), 193-202,which <strong>in</strong>clu<strong>de</strong>s excerpts of Chernyshevsky’s essay, translated<strong>in</strong>to English; Ala<strong>in</strong> Besançon, “The Dissi<strong>de</strong>nce of <strong>Russian</strong>Pa<strong>in</strong>t<strong>in</strong>g (1860-1922),” <strong>in</strong> Cherniavsky, <strong>Russian</strong> History, 381-411 <strong>and</strong> esp. 382-384. See also Grigorii Stern<strong>in</strong>’s discussion ofthe 1863 protest <strong>in</strong> Khudozhestvennaia zhizn Rossii sered<strong>in</strong>yXIX veka (Moscow: Iskusstvo, 1991), 83-126.9. The orig<strong>in</strong>al secession of 14 stu<strong>de</strong>nts or ‘Artel Khudozhnikov’could not survive economically apart from the Aca<strong>de</strong>my overthe long term. By 1869, the Artel was receiv<strong>in</strong>g commissions,exhibition opportunities <strong>and</strong> studio space from the Aca<strong>de</strong>my.See Valkenier, <strong>Russian</strong> Realist Art, 36-37.10. Valkenier, <strong>Russian</strong> Realist Art 40 as repr<strong>in</strong>ted from “Na svoikhnogakh,” Delo 12 (December 1871): 106-108.11. Valkenier, <strong>Russian</strong> Realist Art, 132.12. V. V. Stasov, “Khorosha li rozn’ mezhdu khudozhnikami?” <strong>in</strong>Iskusstvo XIX Veka vol. 2 of V. V. Stasov. Izbrannoe, 389-411.13. Valkenier, <strong>Russian</strong> Realist Art, 134.14. I. Vasilevsky, Russkie vedomosti 66 (8 March 1898) as repr<strong>in</strong>ted<strong>in</strong> Ibid. See also Grigori Stern<strong>in</strong>’s account of the Peredvizhnikiafter the reforms <strong>in</strong> Khuhdozhestvennaia zhizn’ Rossii narubezhe XIX-XX vekov (Moscow: Iskusstvo, 1970), chap. 2.15. Fritz Baer, “Anzeiger <strong>de</strong>r Genossenschaft” as quoted <strong>in</strong> Mart<strong>in</strong>Fed<strong>de</strong>rsen, Die Entartung <strong>de</strong>r Muenchener Kunst (<strong>Munich</strong>,1894) ;11.16. <strong>Munich</strong>’s i<strong>de</strong>ntity as an <strong>in</strong>ternational <strong>and</strong> national center of art<strong>and</strong> the capitol of Bavaria was vital to its survival as a Germancultural symbol, a role the city had assumed well before Germanunification <strong>in</strong> 1871. That role was now threatened by Germany’snorthern capitol <strong>in</strong> Prussia - Berl<strong>in</strong>, as it sought to assert itsown cultural significance as the center of a unified Germany.For a discussion of this relationship see Maria Makela, The<strong>Munich</strong> Secession. Art <strong>and</strong> Artists <strong>in</strong> Turn-of-the-Century<strong>Munich</strong>, (Pr<strong>in</strong>ceton: Pr<strong>in</strong>ceton University Press 1990).17. Karl Benda, “Russischer Naturalismus <strong>in</strong> Deutschl<strong>and</strong>,” DieFreie Bühne 1 (1890): 376.18. B.E. “St. Petersburger Kunstausstellungen,” Die Allgeme<strong>in</strong>eZeitung 96, 143 (Saturday, 26 May 1894): 2.19. In an article review<strong>in</strong>g the Secession exhibition for the <strong>Russian</strong>newspaper Novosti dnia, (no. 5922, Friday, 19 November 1899).K<strong>and</strong><strong>in</strong>sky discusses the rediscovery of old [ie. medieval]tempera pa<strong>in</strong>t<strong>in</strong>g among avant-gar<strong>de</strong> <strong>artists</strong> as a technical meansof agitat<strong>in</strong>g the hegemony of the official old or<strong>de</strong>r. He refers toboth oil pa<strong>in</strong>t<strong>in</strong>g <strong>and</strong> its ubiquity as the medium of choice amongthe social <strong>and</strong> <strong>political</strong> elite, such as the tsar, althoughcensorship would not have allowed him to state this openly.For an English translation, see “K<strong>and</strong><strong>in</strong>sky’s ‘Secession’,”Critical Inquiry, 23 (Summer 1997): 729-737.20. Staatliche Russisches Museum <strong>and</strong> Kunsthalle Krems, Russl<strong>and</strong>- Rep<strong>in</strong> und die Realisten, exh. cat. (np.: Palace Editions, 2002),164.21. Münchener Künstlergenossenschaft <strong>and</strong> Münchener Secession,Offizieller Katalog <strong>de</strong>r VII. Internationalen Kunstaustellung,2 nd ed. (<strong>Munich</strong>, June 1897), 83.22. Igor Grabar, ‘Zwei Jahrhun<strong>de</strong>rte Russische Kunst’, Zeitschriftfür bil<strong>de</strong>n<strong>de</strong> Kunst, Neue Folge, Vol. 18/42 (1906-07): 58-78.23. Ibid, 72.24. It had been exhibited <strong>in</strong> St. Petersburg <strong>in</strong> two separate showsfrom 1891-1892 followed by the 1893 Columbian Exposition<strong>in</strong> Chicago, as well as Budapest. The pa<strong>in</strong>t<strong>in</strong>g receivedsignificant attention <strong>in</strong> the <strong>Russian</strong> <strong>and</strong> foreign pressesthroughout the 1890s. For <strong>de</strong>tails <strong>and</strong> a discussion of its freedomtheme <strong>in</strong> English, see Fan Parker <strong>and</strong> Stephen Jan Parker, Russiaon Canvas, Ilya Rep<strong>in</strong> (Pennsylvania State University Press:University Park, 1980), chap.7.25. See letter to his brother dated 8 August 1895 <strong>in</strong> I. Grabar, Pisma1891-1917 (Moscow: Nauka, 1974), 42.26. Rep<strong>in</strong>’s ten accounts appeared <strong>in</strong> two journals, Teatral’naiagazeta (Theatre Gazette) <strong>and</strong> Ne<strong>de</strong>la (Week). The first six ofthese were published as “Pis’ma ob iskusstve,” (“Letters onArt”) <strong>in</strong> Teatral’naia gazeta (issues dated 31 October 1893, 5November 1893, 7 November 1893, 12 November 1893, 17November 1893 <strong>and</strong> 19 November 1893). The follow<strong>in</strong>g four,of which Rep<strong>in</strong>’s <strong>de</strong>scription of <strong>Munich</strong> is the first, werepublished as “Zametki khudozhnika” (“Notes from the Artist”)<strong>in</strong> Ne<strong>de</strong>la (no. 2, no. 3 <strong>and</strong> no. 6, 1894). The essays were firstrepr<strong>in</strong>ted <strong>in</strong> Vospom<strong>in</strong>aniia, stat’i i pis’ma iz zagranitsy I.E.Rep<strong>in</strong>a, ed. N. B. Severova, (St. Petersburg: Evgenii Tile, 1901),76-159. They are repr<strong>in</strong>ted collectively as “Letters on Art 1893-1894” <strong>in</strong> Dalekoe blizkoe, 8th ed., ed. K. Chukovsky (Len<strong>in</strong>grad:Khudozhnik RSFSR, 1982), 412-458. The above-mentionedquote was written between November 5th <strong>and</strong> 12th 1893 <strong>and</strong> isrepr<strong>in</strong>ted as “Essay Seven” <strong>in</strong> Dalekoe blizkoe, 432.27. For a similar view see also V. G. “Mezhdunarodnaiakhudozhestvennaia vystavka v Miunkhene,” Khudozhnik no.13 (1 July 1892): 46-47.28. Rep<strong>in</strong>, “Essay Seven” <strong>in</strong> Dalekoe blizkoe, 432. See also, Rob<strong>in</strong>Lenman, “A Community <strong>in</strong> Transition: Pa<strong>in</strong>ters <strong>in</strong> <strong>Munich</strong>,1886-1924,” Central European History XV, 1 (March 1982):3-33 for a discussion of the city as an artistic center.29. For a discussion of the importance of art’s availability to allGerman citizens through the German government’s <strong>de</strong>sign artprogram see John Heskett, German Design 1870-1918 (NewYork: Tapl<strong>in</strong>ger Publish<strong>in</strong>g, 1986). A well-known speech givenby Kaiser Wilhelm II on the importance of art <strong>in</strong> everyone’s lifeis “Die wahre Kunst,” (18 December 1901), as repr<strong>in</strong>ted <strong>in</strong>Die Re<strong>de</strong>n Kaiser Wilhelm II, vol. 3 (Leipzig: Philipp Reclam,1907), 61-66.30. Grabar, Pisma, especially letters dated 1895 through 1901.