Russian women and their culture: History

June 27th, 2009
Written by Yuliya

Another great way to impress beautiful Russian women is to display some knowledge of their country’s history.

Russia is the largest country in the world and has a rich and interesting history which includes such famous people as Catherine the Great and Alexander the Great.

For a quick primer on Russian history, Wikipedia is a good start.

Russian women and men like to celebrate their history. In Russia there are about 1,500 museums that cover practically all spheres of knowledge: historical, ethnographic, memorial, folk, fine and applied arts, theatre, music, natural sciences, technology, and many others. Twenty ethnographic museums represent architecture, arts and the everyday life of Russian people. All museum collections are supported by the invaluable Museum Fund of Russia, its national treasure.

If you travel to Russia to meet beautiful Russian women in person, be sure to check out the local museums! You will be particularly impressed by the art galleries (including the Tretyakov Gallery), exhibitions and historical places (Menshikov Tower, Moscow Menage, Troitse, Sergiyeva Lavra, Kunstkamera, Catherine Palace, Grand Kremlin Palace, Winter Palace, Lenin’s Mausoleum, White House of Russia).

(Plus, you might find that some of these places, such as Catherine Palace and the Winter Palace can be great places to go on romantic dates with beautiful Russian women!)

If you haven’t already met the beautiful Russian woman of your dreams, what are you waiting for? Start browsing the Russian women profiles on our site today!

One Comment regarding “Russian women and their culture: History”
  1. Vladimir says:

    The rising influence of European culture in Russia during the 17th and 18th centuries brought Russian artwork closer to the familiar traditions of western painting. It wasn’t until the end of the 19th century that the next great body of uniquely Russian artistic styles arose, having developed in conjunction with liberal forces of social reform. This modern movement took many different directions almost from its inception, and it would be impossible to describe all of them. However, even a very general acquaintance with their common ideas and interests makes their work much more accessible.

    rusart05.jpg (34713 bytes) From the start, the modern art movement was concerned with breaking away from the classical tradition and creating a new kind of art that was intimately engaged with the daily life of Russian society. It developed a renewed interest in traditional Russian art forms, including both decorative folk art and, of course, icon painting. From decorative art it gained an appreciation of the power of abstract geometrical patterns–lines, shapes, and color were used to construct rhythms and energetic forms, not necessarily to depict objects or actual spaces. The re-examination of icon painting made painters more aware of the power of a flat, two-dimensional visual perspective. In other words, they realized that they could treat the canvas like a canvas, rather than trying to give the impression that it was a window into a space.

    From the end of the nineteenth century until about 1910, the modern art movement remained most interested in traditional aspects of Russian life–religion and village life were as influential as the life of the great cities. As the forces of social reform became more closely linked to the rising population of industrial workers, Russia’s avant-garde artists turned increasingly to the factory and the frenetic pace of urban life for inspiration. Brilliant colours, simplified and sharply angular forms, and an emphasis on the liberatory energy of the modern world became the basis for new and increasingly abstract compositions. Cubo-Futurism, Rayonnism and Suprematism were the most important of the styles and schools that emerged during this time. Among their most prominent artists were Kasimir Malevich, Vladimir Tatlin, Mikhail Larionov, and Anna Goncharova.

    After the 1917 Revolution, the Russian Avant-Garde leapt into the service of the new Bolshevik regime. It seemed to promise just the sort of break into a new world, and sweeping away of the old, that they had been working for in art for years. They produced political posters, organized street pageants and fairs, and, most notably, carried out the design of the country’s great public spaces for anniversary celebrations of the Revolution. Caught up in the new regime’s emphasis on the importance of industrial power, they began to bring to composition a sense of the rationality and technological focus of industrial work and design. Constructivism, as this style is known, continued to evolve into the late 1920s, when the conservatism of the Stalinist state renounced the Avant-Garde in favor of Soviet Realism. Many of the prominent artists of the earlier schools played a central role in Constructivism, especially Tatlin. Other well-known artists of the Constructivist movement include Alexander Rodchenko, Varvara Stepanova, and Liubov Popova.

    Repudiated by the Stalinist government and neglected in the west, the Russian Avant-Garde has only recently received the attention it deserves. The Russian Museum in St. Petersburg possesses the finest collection of its work.

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