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Tamara Talbot Rice (1904–1993)

Auteur van Russische kunst

14+ Werken 555 Leden 9 Besprekingen

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Fotografie: Tamara Talbot Rice. (Scanned from the dust jacket of Ancient Arts of Central Asia)

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The Roman Empire and Its Neighbours (1966) — Auteur — 109 exemplaren

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Algemene kennis

Gangbare naam
Rice, Tamara Talbot
Officiële naam
Talbot Rice, Tamara Abelson
Geboortedatum
1904-06-19
Overlijdensdatum
1993-09-24
Graflocatie
Churchyard of St Andrew's, Coln Rogers, Gloucestershire, England, UK
Geslacht
female
Nationaliteit
Russian Empire (birth)
UK
Geboorteplaats
St. Petersburg, Russia
Plaats van overlijden
Bourton-on-the-Water, Gloucestershire, England, UK
Woonplaatsen
St. Petersburg, Russia
Oxford, Oxfordshire, England, UK
Paris, France
Opleiding
Oxford University (St. Hugh's College)
Cheltenham Ladies College
Beroepen
ISNI 0000 0001 0929 0612
Relaties
Rice, David Talbot (husband)
Tolstoy, Leo (godfather)
Waugh, Evelyn (friend)
Acton, Harold (friend)
Korte biografie
Tamara Talbot Rice was born Elena Abelson in St. Petersburg, Russia. Her father Israel Boris Abelevich Abelson was a wealthy businessman and member of the Tsar's financial administration. Leo Tolstoy, a family friend, was her godfather. She had a privileged childhood in St. Petersburg, where she attended the elite Tagantzeva Girls' School, until the Russian Revolution of 1917 caused her family to flee the country. They settled in London and Paris. She attended Cheltenham Ladies' College and then Oxford University, where she was a member of the circle of friends that included Evelyn Waugh, Harold Acton, and David Talbot Rice, her future husband. She left Oxford without a degree and worked at various jobs, including as a film extra, journalist, and researcher. In 1927, she married Talbot Rice, an archaeologist, and spent years traveling with him to Greece, Yugoslavia, Bulgaria, Georgia, Persia, and Turkey on his excavations. She and her husband co-wrote the book The Icons of Cyprus, published in 1937. During World War II, she worked in the Ministry of Information's Turkish division. After the war, she became a distinguished scholar of Russian and Byzantine art and art historian, and wrote The Scythians (1957), The Seljuks in Asia Minor (1961), and Everyday Life in Byzantium (1967), among others. Her final book was the biography Elizabeth Petrovna, Empress of Russia (1970). After her death, her memoirs were published by her daughter Elizabeth Talbot Rice as Tamara: Memoirs of St. Petersburg, Paris, Oxford and Byzantium (1996).

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This was a very interesting look at the life of the forerunner of Catherine the Great. Empress Elizabeth was the daughter of Peter the Great. Her mother, Catherine I, also ruled Russia in her own right. However, Elizabeth came to the throne vastly unprepared for the task set before her. She was sorely lacking in book knowledge, yet she didn't hesitate to provide opportunities for her subjects to advance their education.

The book makes the case that had their been no Elizabeth, there could have been no Catherine the Great. Catherine modeled a lot of her reign and some of her behavior on her predecessor. The book delves into the impact Elizabeth made on the arts. This can become a little dry. I wish that an author will be able to write a more up to date biography of this seemingly little known Empress of Russia.… (meer)
½
 
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briandrewz | 1 andere bespreking | Jun 23, 2022 |
Llegit en anglés amb una certa dificultat, m'ha instruit abastament per conèixer aquest grup ¨The Scyntihans¨ i entendre millor d'on sorgia geogràficament aquest grup i les seves maneres de imposar-se.
Molt interessant.
 
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mgaspa | 1 andere bespreking | May 21, 2020 |
I keep dipping in and out of this book, which I've owned for 40 years, whenever I want to review Central Asian art history. It takes a very complex subject and manages in 250 pages to make it a coherent whole despite the periods when there simply are 'gaps' that we still haven't been able to fill in. Since the book was published (in 1965), there's been many more archaeological finds, but there has also been an equal amount of archaeological 'damage' in these regions. It's difficult to read about the great Buddhas of Bamiyan, for example, in the author's present-tense voice and not be angry. Or to read for that matter about many other Afghanistan and Pakistan (Bactria and the Hindu Kush) locations mentioned, to know that they probably also no longer exist. On the other hand, I have been to ancient 'Chorasmia' (today's Turkmenistan) and the Ordos and 'Kashgaria' (The Tarim Basin region), and my visits have been all the richer for having read this book beforehand. I will doubtlessly be re-reading this book the rest of my life for each time I read it, I'm trying to fill in different parts of the puzzle of Central Asian art.

The book's shortfall is the use of outdated spellings and transcription systems. If you haven't grown up with Wade-Giles or Sanskrit, be prepared to puzzle over Ho Ch'up'ing (in Pinyin, Huo Qubing) and Tch'ang-ugen (Ch'ang-an, or modern Xi'an).

This volume is also best read with a historical atlas at one's side, unless you already know where Keriya, Endere, Begram, Saripul, Damghan, Balasagun and Tepe Maredjan are located because to read this volume without following the geographical identifiers would be a waste of your time. It's the geography and the cultures that count with Central Asian art, as the author warns us in the Introduction "the political conditions which developed in various sections of the vast area dealt with in this volume were often so fluid and complex that, for reasons both of brevity and clarity, it has seemed best to deal with the artistic schools peculiar to each region on a geographical rather than a chronological basis" (p. 10). And therein lies the value of this volume...together with scholar Talbot Rice's constant reminders to 'look back', to see the links, the influences, and to want to continue the search for the missing links.
… (meer)
 
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pbjwelch | Jul 25, 2017 |

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Statistieken

Werken
14
Ook door
2
Leden
555
Populariteit
#44,976
Waardering
4.0
Besprekingen
9
ISBNs
22
Talen
2

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