A Concise History of Russian Art by Tamara T. Rice

By Tamara T. Rice

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However, the fallow years were not wasted, for it was during this period that Novgorodian taste became fully formed the heavy expenses survival under the influence of the forthright, practical merchants who consti- tuted the bulk of the Republic's population. Their ability to deal with which confronted them imbued them with the self-confidence that led them to speak of their city as 'Lord Novgorod the Great', and which enabled them to formulate their artistic views as well as to create what is often described as the the poHtical and economic difficulties Classical phase in medieval Russian architecture.

Retaining their prince, but relegating governor ejected of him from to a position of a mihtary The the kremlin enclosure, thereby depriving and of his palace chapel. him who assumed control only when called upon to do so, his right to regard Hagia Sophia Prince and his household establish themselves in the moved from they him both as his royal the hill-top to lower section of the town, and the Cathedral of Hagia Sophia automatically passed from royal ownership into that may of the officiating bishop, whose importance henceforth be compared to that of the Archbishop of York in medieval England.

The severe but deeply expressive faces in these paintings, the figures' taut limbs, their a dark olive green faces sombre, intense colour with and an opaque red, the stress laid on heavy modelling of the by means of much use of ochre and of white highlights, and the on the faces and the contours of habit of outlining the features the hands in a reddish-brown — all tend to create a deeply poignant impression: an atmosphere of heavy, almost oppressive silence. The late thirteenth century marks a halt in Novgorod's cultural The Mongol conquest of virtually the whole of South-eastern life.

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