Art Notes from Abroad. The English School at the Paris Exposition

Among philosophers and historians of political thought Hobbes has little or nothing to say about relations among states. For modern realists and representatives of the English School in contemporary international relations theory, however, caricatures of Hobbes abound. There is a tendency to take him too literally, referring to what is called the unmodified philosophical state of nature, ignoring what he has to say about both the modified state of nature and the historical pre-civil condition. They extrapolate from the predicament of the individual conclusions claimed to be pertinent to international relations, and on the whole find his conclusions unconvincing. It is demonstrated that there is a much more restrained and cautious Hobbes, consistent with his timid nature, in which he gives carefully weighed views on a variety of international issues, recommending moderation consistent with the duties of sovereignty.

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The Great Chain of History: William Buckland and the English School of Geology, 1814-1849. Nicolaas A. Rupke

The Journal of Modern History ◽

10.1086/242877 ◽

1985 ◽

Vol 57 (3) ◽

pp. 554-555

Author(s):

T. W. Heyck

Keyword(s):

English School

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Viktor Vasnetsov’s New Icons

Experiment ◽

10.1163/2211730x-12341334 ◽

2019 ◽

Vol 25 (1) ◽

pp. 131-144

Author(s):

Wendy Salmond

Keyword(s):

Nineteenth Century ◽

Popular Culture ◽

National Culture ◽

Russian Society ◽

Late Imperial ◽

Imperial Period ◽

Paris Exposition ◽

The Many ◽

Modern Orthodox ◽

Human Hands

Abstract This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Spas nerukotvornyi [Savior Not Made by Human Hands] Church at Abramtsevo in 1880-81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was bitterly attacked in advanced art circles. Yet Vasnetsov’s new icons were increasingly linked with popular culture and the many copies made of them in the late Imperial period suggest that his hybrid image spoke to a generation seeking a resolution to the dilemma of how modern Orthodox worshippers should pray.

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