The history of a building site in Moscow where Russian rulers since Alexander I have planned, constructed, and destroyed monuments of colossal proportionsThis book surveys two centuries of Russian history through a succession of ambitious architectural projects designed for a single construction site in central Moscow. Czars, Bolshevik rulers, and contemporary Russian leaders alike have dreamed of glorious monuments to themselves and their ideologies on this site. The history of their efforts reflects the story of the nation itself and its repeated attempts to construct or reconstruct its identity and to repudiate or resuscitate emblems of the past.In the nineteenth century Czar Alexander I began to construct the largest cathedral (and the largest building) in the world at the time. His successor, Nicholas I, changed both the site and the project. Completed by Alexander III, the cathedral was demolished by Stalin in the 1930s to make way for the tallest building in the world, the Palace of Soviets, but that project was ended by the war. During the Khrushchev years the excavation pit was transformed into an outdoor heated swimming pool—the world’s largest, of course—and under Yeltsin’s direction the pool was replaced with a reconstruction of the destroyed cathedral. The book explores each project intended for this ideologically-charged site and documents with 60 illustrations the grand projects that were built as well as those that were only dreamed.

Published to accompany the Royal Academy exhibition from 29 June to 13 October 2024, a major study of Ukrainian art from 1900 to the mid-1930s – with loans from major museums in Ukraine, elsewhere in Europe, the United States (including MoMA) and Israel. How does artistic life flourish during revolution and conflict? Ukraine in the early 1900s endured unimaginable political upheaval, yet this became a period of true renaissance in Ukrainian art, literature, theatre and cinema. In the Eye of the Storm: Modernism in Ukraine, 1900–1930s presents the ground-breaking art produced in Ukraine in the early 20th century, focusing on the three key cultural centres of Kyiv, Kharkiv and Odesa. Against a complicated socio-political backdrop of collapsing empires, World War I, the revolutions of 1917 with the ensuing Ukrainian War of Independence, and the eventual creation of Soviet Ukraine, several strands of distinctly Ukrainian art emerged. While émigrés such as Sonia Delaunay and Alexander Archipenko found fame outside their homeland, the followers of Mykhailo Boichuk focused on Byzantine revivalism, and the artists of the Kultur Lige sought to promote the development of contemporary Yiddish culture. The first avant-garde exhibitions in Ukraine featured the radical art of Davyd Burliuk and Alexandra Exter, and the dynamic canvases of the Kyiv-based Cubo-Futurist Oleksandr Bohomazov. In Kharkiv, Vasyl Yermilov championed the industrial art of Constructivism, while Vadym Meller, Anatol Petrytskyi, Oleksandr Khvostenko-Khvostov and Borys Kosarev revolutionized theatre design. The attempt to build a national identity in Ukraine resulted in a polyphony of styles and artistic developments across a full range of media – from oil paintings, sketches and sculpture to collages, cinema posters and theatre designs. Twelve internationally renowned scholars, including curators from the National Art Museum of Ukraine, bring to life this astonishing period of creativity in Ukraine and all the movements it encompassed.

The history of a building site in Moscow where Russian rulers since Alexander I have planned, constructed, and destroyed monuments of colossal proportionsThis book surveys two centuries of Russian history through a succession of ambitious architectural projects designed for a single construction site in central Moscow. Czars, Bolshevik rulers, and contemporary Russian leaders alike have dreamed of glorious monuments to themselves and their ideologies on this site. The history of their efforts reflects the story of the nation itself and its repeated attempts to construct or reconstruct its identity and to repudiate or resuscitate emblems of the past.In the nineteenth century Czar Alexander I began to construct the largest cathedral (and the largest building) in the world at the time. His successor, Nicholas I, changed both the site and the project. Completed by Alexander III, the cathedral was demolished by Stalin in the 1930s to make way for the tallest building in the world, the Palace of Soviets, but that project was ended by the war. During the Khrushchev years the excavation pit was transformed into an outdoor heated swimming pool—the world’s largest, of course—and under Yeltsin’s direction the pool was replaced with a reconstruction of the destroyed cathedral. The book explores each project intended for this ideologically-charged site and documents with 60 illustrations the grand projects that were built as well as those that were only dreamed.

Published to accompany the Royal Academy exhibition from 29 June to 13 October 2024, a major study of Ukrainian art from 1900 to the mid-1930s – with loans from major museums in Ukraine, elsewhere in Europe, the United States (including MoMA) and Israel. How does artistic life flourish during revolution and conflict? Ukraine in the early 1900s endured unimaginable political upheaval, yet this became a period of true renaissance in Ukrainian art, literature, theatre and cinema. In the Eye of the Storm: Modernism in Ukraine, 1900–1930s presents the ground-breaking art produced in Ukraine in the early 20th century, focusing on the three key cultural centres of Kyiv, Kharkiv and Odesa. Against a complicated socio-political backdrop of collapsing empires, World War I, the revolutions of 1917 with the ensuing Ukrainian War of Independence, and the eventual creation of Soviet Ukraine, several strands of distinctly Ukrainian art emerged. While émigrés such as Sonia Delaunay and Alexander Archipenko found fame outside their homeland, the followers of Mykhailo Boichuk focused on Byzantine revivalism, and the artists of the Kultur Lige sought to promote the development of contemporary Yiddish culture. The first avant-garde exhibitions in Ukraine featured the radical art of Davyd Burliuk and Alexandra Exter, and the dynamic canvases of the Kyiv-based Cubo-Futurist Oleksandr Bohomazov. In Kharkiv, Vasyl Yermilov championed the industrial art of Constructivism, while Vadym Meller, Anatol Petrytskyi, Oleksandr Khvostenko-Khvostov and Borys Kosarev revolutionized theatre design. The attempt to build a national identity in Ukraine resulted in a polyphony of styles and artistic developments across a full range of media – from oil paintings, sketches and sculpture to collages, cinema posters and theatre designs. Twelve internationally renowned scholars, including curators from the National Art Museum of Ukraine, bring to life this astonishing period of creativity in Ukraine and all the movements it encompassed.