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The Art of Printing and the Culture of the Art Periodical in Late Imperial Russia (1898-1917) Open Access


Other title
art reproduction
graphic arts
print revival
<i>Zolotoe Runo</i> (<i>The Golden Fleece</i>, 1906-1909), art periodical
word and image
<i>Apollon</i> (<i>Apollo</i>, 1909-1917), art periodical
art of printing
art periodical culture
<i>Mir Iskusstva</i> (the <i>World of Art</i>, 1899-1905) art periodical
Type of item
Degree grantor
University of Alberta
Author or creator
Chuchvaha, Hanna
Supervisor and department
Ilnytzkyj, Oleh (Modern Languages and Cultural Studies)
Greer, Joan (Art and Design)
Examining committee member and department
Gérin, Annie (d'histoire de l'art / U Quebec a Montreal)
Coleman, Heather (History and Classics)
Kononenko, Natalie (Modern Languages and Cultural Studies)
Colberg, Susan (Art and Design)
Boone, Elizabeth (Art and Design)
Department of Art and Design
Department of Modern Languages and Cultural Studies

Date accepted
Graduation date
Doctor of Philosophy
Degree level
This interdisciplinary dissertation explores the World of Art (Mir Iskusstva, 1899-1904), The Golden Fleece (Zolotoe runo, 1906-1909) and Apollo (Apollon, 1909-1917), three art periodicals that became symbols of the print revival and Europeanization in late Imperial Russia. Preoccupied with high quality art reproduction and graphic design, these journals were conceived and executed as art objects and examples of fine book craftsmanship, concerned with the physical form and appearance of the periodical as such. Their publication advanced Russian book art and stimulated the development of graphic design, giving it a status comparable to that of painting or sculpture. This work offers a detailed examination of the first or “inaugural” numbers, which represented manifesto-like editorial positions expressed in words and images. Thus, the World of Art announced the Europeanization of art theories and art themes and offered a Russian version of Art Nouveau; The Golden Fleece promoted Symbolist art, while Apollo advocated Apollonianism as a “classical revival”. In exploring journals as art objects, this dissertation engages Gérard Genette’s notion of “paratext”, which serves as an umbrella approach to the explanation of the material dimension of the periodical. Treated as spatio-temporal media combinations, the art periodicals are analyzed as complex artefacts that combine text and image, which together affect meaning. This dissertation also explores in detail the historical preconditions of the rise of art journals, i.e. the emergence of the first art periodicals and illustrated press in the nineteenth century, the development of reproduction technologies and the role of art reproductions in culture – all of which are factors that led to the appearance of the journals as art objects. Further, it analyses the socio-historical context of the formation and function of editorial boards and examines the periodicals’ ideologies as articulations of “group identities” that became the impetus behind the art journals’ visual appearance.
Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission.
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