Hamburger Kunsthalle

Abstract This article examines the role of the revival of majolica in the search for a national art. It argues that the reinvention of majolica and the reform of the kustar art industry were intimately linked with the rise of ethnographic research and the revitalization of vernacular culture. The Abramtsevo circle became a nucleus for both. The endeavor to revive national heritage and to encourage the handicraft industry was spearheaded by private patronage, which had largely originated from the new urban elite in Moscow. The works made in the ceramics workshop in Abramtsevo were a significant manifestation of the Neo-Russian style and emblematized the typical “Russian” handicraft objects. This article posits that the revival of majolica pursued two main goals: the manufacture of high-quality products to stimulate the art market and the creation of national “Russian” art through the use of vernacular forms. The invention of a national style was publicized at international exhibitions and through reproduction in art magazines. The painter Mikhail Vrubel, who worked in the Abramtsevo ceramics workshop from 1890 until around 1900, became a key figure in the revival of majolica.

The World War is a newspaper war.In reality, it never existed," Johannes Baader proclaimed in 1920 in the Dada Almanach, with regard to his assemblage the Plasto-Dio-Dada-Drama."So one should never believe newspapers.It's all eyewash.From the first reports of the mobilization, to Liège, the Battle of the Marne, the retreat from Russia and the armistice -the press has created the World War" (Baader, "Germany's Greatness" 101).